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ISTANDARD  SYMPHONIES 


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THE 

Standard   Symphonies 

THEIR    HISTORY,    THEIR    MUSIC,    AND 
THEIR   COMPOSERS 

By   GEORGE    P.   UPTON 

AUTHOR   OF 

"the  standard  operas,"  "standard  oratorios,"  "standard 
cantatas,"  "  woman  in  music,"  etc. 


CHICAGO 

A.  C.  McCLURG  AND   COMPANY 

1889 


Copyright 
By  a.  C.  McClurg  and  Co. 
A.D.  iSSS 


MUSIC 
LIBRARY 


U'71 


T/ie  Standard  Symphonies  is  dedicated  by  ferniission 

Co  C{)col)ore  Oomas, 

Not  alone  as  a  sojtvenir  of  personal  friendship,  but  as  a  tribute 
of  respect  and  admiration  for  the  eminent  Conductor, 
who,  more  than  any  other,  has  made  the  American 
public  acquainted  with  the  highest  form  of 
musical  art  hy  his  scholarly  interpreta- 
tion and  great  executive  ability. 


PREFACE. 


HE  Standard  Symphonies  is  the  fourth  of 
the  series  in  which  the  Standard  Operas, 
Standard  Oratorios,  and  Standard  Can- 
tatas have  been  its  predecessors.  For 
the  sake  of  uniformity  the  same  general  method 
has  been  followed  as  in  the  works  mentioned  above. 
The  nature  and  structure  of  the  symphony  are  so 
well  defined  that  it  has  not  been  a  difficult  task  to 
decide  what  compositions  of  this  class  should  be 
selected.  The  programmes  of  the  concert-stage, 
running  through  a  series  of  years,  are  sufficient  to 
indicate  what  may  be  considered  standard.  With 
one  exception,  Beethoven's  Choral  Fantasie,  which 
has  been  included  owing  to  its  distant  kinship  to 
his  Choral  Symphony,  all  the  works  described  are 
symphonic  ip  character.  The  symphonic  poems  at 
the  close  of  the  volume  obviously  should  also  find 
place  in  a  book  of  this  kind.  The  sketches  are 
prefaced  by  an  essay  upon  the  Symphony,  its  origin. 


vi  PREFACE. 

development,  and  evolution,  and  its  characteristics 
as  absolute  music  in  the  classic  form  as  well  as 
programme-music  of  the  romantic  school.  In  pre- 
paring the  personal  sketches  of  the  composers,  the 
author,  to  avoid  repetitions  which  occurred  of  ne- 
cessity in  the  other  volumes,  has  preferred  to  con- 
sider their  relations  to  the  Symphony  rather  than  to 
reproduce  biographical  data. 

Like  its  predecessors,  the  Standard  Symphonies 
has  been  prepared  for  the  general  public  with 
the  hope  that  it  may  prove  a  useful  guide  in  the 
concert-room.  In  those  books  the  text  was  made 
as  untechnical  as  possible.  In  this  such  a  purpose 
has  not  always  been  practical,  owing  to  the  abstract 
character  of  many  of  the  works,  particularly  of 
those  which  have  no  special  story  to  tell.  As  it 
was  not  possible  to  present  the  themes  of  each  one 
without  making  the  volume  largely  disproportionate 
to  its  companions,  the  author  has  selected  the  sym- 
phonies of  Beethoven,  Mozart,  and  Haydn,  which 
are  the  accepted  models,  for  musical  illustration 
and  detailed  technical  description,  and  has  made  it 
sufficiently  ample,  he  trusts,  to  give  the  lay-reader 
an  intelligent  idea  of  the  general  structural  form  of 
the  Symphony.  So  far  as  historical  data  are  con- 
cerned the  author  has  consulted  the  most  reliable 
authorities ;  and  he  also  desires  in  this  connection 
to  express  his  indebtedness  to  Mr.  A.  W.  Dohn,  of 
Chicago,  for  valuable  suggestions  and  material  as- 
sistance in  the  preparation  of  some  parts  of  the 
work,  thus  lightening  what  would  otherwise  have 


PREFACE.  vii 

been  a  formidable  task  in  the  limited  time  at  his 
disposal.  The  generous  favor  which  the  public  has 
bestowed  upon  the  other  works  of  this  series  leads 
him  to  hope  that  the  Standard  Symphonies  will  not 
be  less  welcome  to  concert-goers  and  to  all  who  are 
interested  in  music. 

G.  P.  U. 

Chicago,  September,  i 


CONTENTS. 


PAGE 

PREFACE    V 

THE   SYMPHONY 13 

BEETHOVEN 29 

Symphony  No.  i,  C  major 30 

Symphony  No.  2,  D 38 

Symphony  No.  3  (Eroica) 44 

Symphony  No.  4,  B  fl.\t 51 

Symphony  No.  5,  C  minor 5S 

Symphony  No.  6  (Pastoral) 65 

Symphony  No.  7,  A  major 70 

Symphony  No.  8,  F 77 

Symphony  No.  9  (Choral) 83 

Choral  Fantasie,  C  minor 96 

BERLIOZ 99 

Symphonie  Fantastique lOI 

Harold  in  Italy 105 

BRAHMS no 

Symphony  No.  i,  C  minor 112 

Symphony  No.  2,  D  major 116 

Symphony  No.  3,  F  major 119 

Symphony  No.  4,  E  minor 121 


X  CONTENTS. 

COWEN 124 

Symphony  No.  3  (Scandinavian) 125 

DVORAK 128 

Symphony  No.  3,  D  major 129 

GADE 133 

Symphony  No.  i,  C  minor 134 

Symphony  No.  4,  B  flat 138 

GOETZ 141 

Symphony  No.  i,  F 142 

GOLDMARK 145 

Landliche  Hochzeit 146 

HAYDN 150 

Symphony  No.  i,  "E  flat 152 

Symphony  No.  2,  D  major 155 

Symphony  No.  6  (Surprise) 157 

Symphony  No.  9,  C  minor.    .     , 159 

Symphony  No.  ii  (Military') 161 

Symphony  No.  12,  B  flat 163 

HOFMANN 166 

Symphony  (Frithjof) 167 

LISZT 170 

The  Faust  Symphony 171 

DiviNA  Commedia 175 

MENDELSSOHN 177 

Symphony  No.  3  (Scotch) 178 

Symphony  No.  4  (Italian) 182 

Symphony  No.  5  (The  Reformation)    .    .    .  1S5 

MOZART 189 

Symphony  No.  543,  E  flat '   .    .  190 

Symphony  No.  550,  G  minor 194 

Symphony  No.  551  (Jupiter) 197 


CONTENTS.  xi 

PAGE 

PAIXE 201 

Symphony  Xo.  2  (Spring) 202 

RAFF 205 

Symphony  Xo.  3  (Im  Walde) 206 

Symphony  Xo.  5  (Lenore) 209 

Symphony  No.  S  (Frchli.vgsklange)    .    .    .  212 

RHEIXBERGER -'5 

Symphony  Xo.  i  (W.\llenstein) 216 

RUBINSTEIN 219 

Symphony  Xo.  2  (Oce.vx) 220 

Symphony  No.  4  (DR.\M.vnc) 223 

SAINT-SAENS --1 

Symphony  No.  3,  A  minor 22S 

Symphony  No.  5,  C  minor 230 

SCHUBERT 233 

Symphony  Xo.  8,  B  minor  (Unfinished)  .    .  234 

Symphony  No.  9,  C  m.^jor 236 

SCHUMANN 241 

Symphony  No.  i,  B  flat 242 

Symphony  No.  2,  C  m.\jor 245 

Symphony  No.  3  (Rhenish) 248 

Symphony  No.  4,  D  minor 251 

SPOHR =54 

Symphony  No.  4  (Consecration  of  Sound)  .  256 

STANFORD 260 

Symphony  No.  3  (Irish) 261 

SULLIVAN =64 

Symphony  No.  i,  E  minor 265 


xii  CONTENTS. 

PAGE 

VOLKMANN 267 

Symphony  No.  i,  D  minor 268 

WAGNER 270 

Symphony,  C  major 271 


c; 


2mpI)onic  Poems. 


LISZT 279 

Les  Pr:^ludes 279 

Tasso 283 

Festklange 2S5 

Mazeppa 287 

Hunnenschlacht 289 

Todtentanz 291 

MENDELSSOHN 293 

A  Midsummer  Night's  Dream 293 

MOSKOWSKI 301 

Joan  of  Arc 301 

PAINE 303 

The  Tempest 303 

REINECKE 304 

Hakon  Jarl 304 

saint-saens 307 

RouET  d'Omphale 307 

Phaeton 307 

Danse  Macabre 30S 


appendix 311 

index 319 


'^^^Hf 


T^-^/>^ 


THE  STANDARD  SYMPHONIES. 


THE  SYMPHONY. 

j|YMPHONY  "  (Symphonic,  Fr.,  Sinfonia, 
//a/.,  Symphonic,  Ger.)  is  derived  from 
the  Greek  word  ax^^t^wta,  literally 
"with  sound,"  and  signifying  consonant 
intervals.  In  its  present  form  it  is  a  composition 
for  full  orchestra,  generally  with  four  movements,  but 
never  less  than  three,  —  first,  an  Allegro  ;  second, 
an  Andante  or  Adagio  ;  third,  a  Scherzo,  or  Minuet 
and  Trio  ;  and  fourth,  an  Allegro,  finale.  This  is 
the  conventional  form  as  fixed  by  Haydn,  though 
variations  of  the  order  named  not  infrequently 
occur. 

In  its  earliest  application  the  word  was  used  for 
exclusively  instrumental  compositions,  but  its  form 
was  hardly  more  than  that  of  an  introduction  or 
prelude  to  vocal  works.  In  all  the  music  of  the 
sixteenth  and  during  the  early  part  of  the  seven- 
teenth   century   the  chief  interest  centred  in  the 


14 


THE  STANDARD   SYMPHONIES. 


voices,  and  whatever  the  instruments  played  inde- 
pendently was  comprehensively  called  "  symphony." 
In  Italy  the  word  has  always  signified  the  preface, 
or  overture,  to  vocal  works,  and  both  Handel  and 
Mozart  have  used  it  in  the  same  sense.  Haydn, 
during  his  visit  to  London  in  1791,  even  wrote 
symphonies  which  were  announced  as  overtures. 
The  French  composer  LuHi  is  usually  credited  with 
the  invention  of  the  overture  or  symphony,  which 
he  first  composed  for  the  Bande  des  petits  Violons 
of  Louis  XIV.  He  not  only  used  them  as  intro- 
ductions to  his  own  operas,  but  other  composers, 
among  them  Vinci,  Leo,  and  Pergolesi,  also  em- 
ployed them  for  their  works.  His  overtures,  which 
are  written  for  a  violin  part  and  bass,  begin  with 
a  slow,  heavy  movement,  followed  by  another  in 
lighter  and  quicker  style,  and  close  with  a  finale 
resembling  the  first,  though  not  so  solid  in  its  form. 
Scarlatti  followed  Lulli  as  an  overture  composer,  and 
enriched  the  form,  besides  giving  it  more  definite 
construction.  The  symphony  to  one  of  his  operas 
is  marked  "  Allegro,  Adagio,  Allegro,"  and  to  an- 
other, "Grave,  Allegro,  and  Minuet,"  the  three 
movements  leading  into  each  other.  Shortly  after 
Scarlatti's  time  the  term  was  applied  to  concertos, 
numerous  illustrations  of  which  are  found  in  the 
works  of  Corelli,  Porpora,  Vivaldi,  Bononcini,  Jo- 
melli,  Handel,  Sacchini,  Bach,  Gr^try,  Mehul,  and 
Cherubini.  These  concertos  were  not  in  the  mod- 
ern form,  however.  Instead  of  being  designed  to 
show  off  a  solo  instrument,  the  fugue  was  the  salient 


THE  SYMPHONY.  15 

feature,  though  a  prominent  part  was  given  to  the 
violin  or  some  other  instrument.  It  was  still  further 
closely  identified  with  the  early  madrigals,  fantasias, 
and  serenades,  and  was  also  related  to  dance  move- 
ments which  brought  it  into  close  affinity  with  the 
sonata,^  in  which  form  we  first  recognize  the  fa- 
miliar outlines  of  the  modern  symphony. 

It  was  not  until  Haydn  had  evolved  and  con- 
centrated the  sonata  form,  based  upon  the  works 
of  Sammartini  and  Karl  Philipp  Emanuel  Bach, 
second  son  of  Sebastian,  though  stripped  of  their 
conventionality,  that  we  find  the  symphony  as  an 
estabhshed  musical  form  for  orchestra  to  which  all 

1  The  great  work  of  Haydn's  life  was  the  gradual  develop- 
ment of  the  constructional  scheme,  now  generally  described  as  the 
sonata  form.  Though  the  details  of  this  were  entirely  dictated  by 
the  bold  originality  of  his  genius,  the  main  lines  of  the  design 
were  based  upon  the  already  existent  dance  tune  —  whether  Ga- 
votte, Bouree,  Minuet,  Branle,  or  Allemande  —  which  in  so  many 
instances  consisted  of  two  sections,  the  first  ending  with  a  perfect 
cadence  in  the  dominant  of  the  principal  key,  while  the  second  con- 
cluded with  a  similar  passage  in  the  principal  key  itself.  —  Rock- 
strd's  History  of  Music,  p.  267. 

A  modern  sonata  is  generally  constructed  upon  the  following 
plan :  The  first  movement  is  an  Allegro,  sometimes  with  an  in- 
troduction, but  more  frequently  without  one ;  the  second  move- 
ment, ordinarily  called  the  slow  movement,  is  set  in  any  time, 
between  Adagio  and  Andante;  and  the  final  movement  is  an 
Allegro,  written  either  in  sonata  or  rondo  form.  If  there  is  a 
fourth  movement,  it  is  usually  placed  after  the  slow  movement,  and 
is  either  a  Scherzo  or  Minuet  and  Trio.  — Staincr's  Dictionary. 

The  earliest  compositions  to  which  the  title  of  sonata  or  suo- 
nata  was  attached  were  written  by  Bonifacio  Graziani  (1609-1672), 
Marc  Antonio  Cesti  (1624-1675),  and  Paolo  Colonna  (1630-1690), 
among   others.  —  Idem. 


1 6  THE  STANDARD  SYMPHONIES. 

composers  since  his  time  have  more  or  less  closely 
adhered.     As  it  is  really  an  orchestral  sonata,  its 
development  kept  even  pace  with  it.     Haydn  was 
the  first  who  aimed  at  the  use  of  each  instrument 
according  to  its  characteristics.     His  predecessors 
had  been  satisfied  with  the  assignment  of  the  vocal 
parts  to  the  various  instruments,  but  he  was  the  first 
to  divide  them  into  different  groups.     He  used  the 
strings,  the  wood  wind   instruments,  such   as   the 
flute,  clarinet,  and  oboe,  the  brasses,  such  as  horns, 
trumpets,  and  trombones,  and  the  drums,  kettle- 
drums,  triangles,    cymbals,    and   other    percussion 
instruments  according  to  their  individual  character- 
istics, as  his  genius  conceived  them.     With  this  en- 
larged apparatus  and  the  well-defined  use  of  each 
instrument  the  style  of  the  symphony  was  propor- 
tionately evolved.   The  moods  of  the  sonata  gained 
in  breadth  and  intensity  of  expression,  and  the  en- 
larged  individual   experience   was  merged  in   tlie 
grand  life  of  nature  and  mankind.     From  his  first 
symphony  to  his  last  Haydn  remained  under  the 
spell  of  the  instruments.     The  tones  of  the  flutes 
were  his  idyls ;  the  clarinets  and  oboes,  the  rep- 
resentatives of  the  herdsmen's  joys  and  sorrows ; 
the  horns  and  trumpets,  the  natural  expression  of 
forest  life ;    and  the   strings  were  the  endless  but 
ever  tuneful  and  melodious  interpreters  of  the  mani- 
fold phases  of  human  existence.    In  his  "  Creation  " 
and  "Seasons,"  as  well  as  in  his  symphonies,  there  are 
always  the  same  fresh  and  loving  pictures  of  Nature, 
—  the  tillers  of  the  soil,  the  peaceful  shepherds,  the 


THE  SYMPHONY.  17 

maids  at  their  spinning-wheels,  the  sturdy  hunters, 
the  melody  of  the  birds,  the  moods  of  animal  hfe, 
and  the  dances  and  songs  of  the  people.  His 
music  is  not  only  the  reflex  of  the  national  charac- 
ter, but  of  his  own  childlike,  joyous  nature.^ 

Mozart  appears  next  in  the  chronology  of  the 
symphony.  His  intense  musical  nature  carried  him 
farther  than  Haydn.  Instead  of  deriving  his  ideas 
from  the  instruments  he  made  them  his  servants  in 
developing  his  musical  creations.  As  his  inner  life 
was  deeper  than  Haydn's,  so  the  expression  of  his 
thoughts  was  more  intensified.  In  his  works  joy 
and  sorrow  speak  to  us  in  truer  and  more  lasting 
tones.  Moods  are  transformed  into  passions,  con- 
tentment into  longing,  and  joviality  into  quiet  hap- 
piness, as  is  shown  in  the  three  great  symphonies 
of  the  year  1788,  —  the  E  flat,  G  minor,  and  Ju- 
piter. In  depth  of  feeling,  richness  and  variety  of 
color,  warmth  of  melodious  expression,  clearness  of 
plan,  and  perfection  of  structural  treatment,  he  un- 
questionably surpassed  his  great  contemporary.^ 

Beethoven,  the  great  master  of  instrumental  mu- 
sic, succeeds  Mozart  in  the  history  of  the  sympho- 
ny. He  not  only  further  developed  the  technique 
of  the   orchestra,  but  also  enlarged  the  scope  of 

1  Haydn  composed  in  all  one  hundred  and  twenty-five  sym- 
phonies. The  first  was  written  in  1759  for  Count  Morzin,  and 
was  a  small  work  in  three  movements  for  two  violins,  viola,  bass, 
two  oboes,  and  two  horns. 

2  Mozart  wrote  in  all  forty-nine  sjTnphonies.  He  composed 
the  first,  in  E  flat,  in  London,  1764,  when  he  was  but  eight  years 
of  age. 


l8     THE  STANDARD  SYMPHONIES. 

instrumental  expression  from  the  inspirations  of  his 
deeper  nature  as  a  man  and  his  greater  genius  as  a 
musician.  Haydn's  symphonies  were  characterized 
by  cheerfulness,  good-humor,  and  pastoral  sim- 
plicity. Mozart  brought  to  his  work  the  qualities 
of  grace,  ardor,  tenderness,  melancholy,  and  some- 
times passion.  Haydn  himself  avowed  that  he 
always  formed  a  little  story  as  "  the  guide  to  the 
workings  of  his  spirit."  Mozart  in  his  wider  field 
developed  the  varying  moods  of  individual  feeling. 
Beethoven,  after  he  had  emancipated  himself  from 
the  influence  of  these  two,  and  stamped  his  own 
individuality  upon  his  music,  wrote  a  succession  of 
musical  epics,  setting  forth  with  the  boldness,  sure- 
ness,  and  strength  of  a  master  hand  human  hfe 
and  its  destiny,  man's  struggles  with  fate,  the  as- 
pirations of  the  soul  toward  liberty,  the  nobility 
of  human  brotheihood,  the  grandeur  and  beauty 
of  Nature,  and  its  mighty  mysteries.  His  faith 
rested  upon  a  pantheistic  abstraction  which  he 
called  "  Love,"  and  that  emotion  is  the  keynote  to 
his  work.  It  imparted  majesty,  nobility,  elevation, 
and  profound  seriousness  to  his  music.  His  ideas 
not  only  reflected  the  sentiment  of  his  own  time, 
which  is  one  of  the  tests  of  a  great  artist,  but  they 
were  broad  and  far-reaching  enough  to  comprehend 
the  great  world  of  humanity,  like  those  of  his  fa- 
vorite Shakspeare  before  him  ;  and  this  it  is  that 
insures  immortality.  He  has  left  us  nine  great 
tone-poems  which  will  delight  generation  after  gen- 
eration of  listeners,  and  which  still  remain  as  the 


THE  SYMPHONY.  ig 

models  of  symphonic  composition.  During  his 
first  period,  so  called,  or  down  to  the  year  of 
the  Heroic  Symphony  (1803),  he  shows  the  in- 
fluence of  Haydn  and  IMozart;  but  from  that 
time  on  he  impressed  himself  on  his  work  with 
all  the  strength  of  his  powerful  subjective  nature. 
Even  before  this  time  he  had  enlarged  the  sym- 
phony and  revolutionized  its  character.  He  had 
trampled  the  forms  of  the  pedants  and  canons  of 
the  doctrinaires  under  his  feet  and  defied  the  critics. 
In  the  First  and  Second  symphonies  he  appears 
to  have  been  experimenting  with  the  materials  left 
by  Haydn  and  Mozart.  In  the  Third  a  fixed  pur- 
pose of  his  own  appears,  and  he  develops  it  with 
an  earnestness  and  through  such  massive  move- 
ments as  the  symphony  had  never  known  before. 
In  the  Fourth  he  seems  to  rest  after  his  bold  flight 
in  the  higher  regions  of  sentiment  and  to  content 
himself  with  experimenting  in  new  forms.  The  Fifth 
will  always  remain  a  masterpiece  in  its  description  of 
that  struggle  which  is  waged  in  every  human  breast, 
and  to  which  Beethoven  himself  gave  the  clew  in 
his  sententious  reply  to  one  who  asked  him  its 
meaning :  "  Fate  knocks  at  the  door."  The  Sixth 
(Pastoral),  every  movement  of  which  has  a  title 
given  to  it  by  the  composer,  though  with  the  cau- 
tion "  Mehr  Empfindung  als  Malerei,"  intimating 
that  it  was  rather  the  sensations  caused  by  Nature 
than  a  pictorial  delineation  of  natural  scenes,  is  a 
glowing  picture  of  a  day  in  the  country.  Then 
follows  the  romantic  Seventh,  with  its  almost  inde- 


20     THE  STANDARD  SYMPHONIES. 

scribable  fascination  and  joyous  exaltation.  In  the 
Eighth,  "  Eine  kleine  Symphonic  "  ("  A  Httle  sym- 
phony "),  he  calls  it,  Beethoven  again  seems  to  rest 
and  to  give  himself  up  to  joyous  light-heartedness 
in  movements  full  of  sunshiny  humor.  Then  comes 
a  long  pause,  and  at  last  appears  the  greatest  of  the 
series,  massive  in  its  proportions,  dramatic  in  its 
expression,  conceived  out  of  his  deep,  abiding  love 
of  humanity,  and  fitly  closing  with  the  human  voice, 
vi^hich  can  alone  give  utterance  to  the  sentiments 
the  instruments  in  the  preceding  recitative  have 
vainly  essayed  to  speak. 

Before  leaving  this  period  in  the  development 
of  the  symphony  the  following  extract  from  the 
London  Musical  Review  (Vol.  VIII.,  1 82 6)  may 
prove  of  interest,  as  expressing  the  judgment  of  a 
contemporary  of  Beethoven  :  — 

"The  mind  of  this  master  is,  we  apprehend,  of  a 
very  peculiar  formation ;  and  if  we  read  his  works 
aright,  we  should  say  that  he  possesses  a  lofty 
though  not  a  rich  imagination,  and  that  this,  com- 
bined with  great  simplicity  and  strength  of  concep- 
tion, raises  him  nearer  the  sublime  than  either  of 
those  who  preceded  him,  at  the  same  time  that  he  ap- 
pears to  possess  an  inexhaustible  fund  of  originality, 
from  which  he  draws  so  constantly  as  to  render  it 
sometimes  (as  we  have  demonstrated)  a  failing  rather 
than  an  excellence  (!).  This  was,  we  regret  to  say, 
too  much  the  case  in  his  last  grand  symphony,^  pro- 
duced at  the  Philharmonic  concert  in  the  season  of 

1  No.  g,  D  minor  (Choral). 


THE  SYMPHONY.  21 

1825.  We  mention  this  work  more  particularly  be- 
cause in  it  was  introduced  the  single  innovation  upon 
Haydn's  original  plan,  before  alluded  to,  in  the  shape 
of  a  chorus,  which  formed  a  part  of  the  fourth  and  last 
movement,  as  also  in  the  symphony  opening  with  an 
Allegro,  and  having  no  Minuet  or  Trio.  Beethoven 
has  aided  the  advance  of  the  symphony  toward  per- 
fection by  strength  and  sublimity,  whilst  at  the  same 
time  his  own  particular  style  is  distinguished  besides 
these  attributes  by  originality,  simplicity,  beauty  of 
melody,  and  great  power  of  description,  which  is  alone 
displayed  in  that  really  stupendous  work,  his  Pastoral 
symphony. 

"  The  result  of  this  investigation,  to  our  apprehen- 
sion, is  that  by  a  happy  concurrence  three  minds  more 
perfectly  formed  for  the  establishment  of  this  magnifi- 
cent invention  could  not  have  succeeded  each  other, 
than  those  of  Haydn,  Mozart,  and  Beethoven.  The 
first  gave  it  form  and  substance,  and  ordained  the 
laws  by  which  it  should  move,  adorning  it  at  the  same 
time  by  fine  taste,  perspicuity  of  design,  and  beautiful 
melody;  the  second  added  to  the  fine  creations  of 
his  fancy  by  richness,  warmth,  and  variety;  and  the 
last  has  endowed  it  with  sublimity  of  description  and 
power." 

Spohr,  who  stands  next  in  the  series,  was  con- 
temporary with  Beethoven.  Of  his  nine  sympho- 
nies, three  are  written  after  the  strict  classical 
methods  and  are  more  or  less  subjective  in  their 
origin.  Four  of  them  diverge  sufficiently  from  the 
conventional  lines  to  entitle  them  to  the  appella- 
tion of  programme-music,  and  set  a  fashion  which 
has  been  followed  by  many  a  subsequent  composer. 


22  THE  STANDARD  SYMPHONIES. 

The  first  of  these  (No.  4,  C  minor)  is  entitled 
"  Weihe  der  T5ne  "  ("  Consecration  of  Sound  "). 
Its  full  characterization  by  the  composer  is  "  Cha- 
racterisches  Tongemalde  in  Form  einer  Sinfonie, 
nach  einen  Gedicht  von  Carl  Pfeiffer  "  ("  Charac- 
teristic tone-picture  in  the  form  of  a  symphony 
after  a  poem  by  Carl  Pfeiffer "),  to  which  is  ap- 
pended a  direction  by  the  composer  that  the  poem 
should  be  read  whenever  the  symphony  is  played. 
The  Sixth,  in  G,  is  entitled  the  Historic  sym- 
phony, and  is  intended  to  commemorate  four  dis- 
tinct musical  periods :  first,  that  of  Handel  and 
Bach,  1720;  second,  that  of  Haydn  and  Mozart, 
1780;  third,  that  of  Beethoven,  18 10;  and  fourth, 
"the  most  modern  period,"  1840.  This  attempt 
at  writing  in  various  styles  called  out  severe  censure 
from  some  of  the  critics,  particularly  Schumann, 
though  Mendelssohn  speaks  of  the  symphony  in 
very  flattering  terms.  His  next  work,  No.  7,  C 
major,  entitled  "  Irdisches  und  Gottliches  in  Men- 
schenleben  "  ("  The  Earthly  and  the  Divine  in  the 
Life  of  Man  "),  is  a  double  symphony  for  two  or- 
chestras, in  three  movements:  first,  "  Kinderwelt " 
("World  of  Childhood")  ;  second,  "Zeit  der  Lei- 
denschaften  "  ("  The  Age  of  the  Passions  ")  ;  and 
third,  "  Endlicher  Sieg  der  Gottlichen  "  (  "  Final 
Victory  of  the  Divine  Principle  ").  In  the  scheme 
of  this  work  the  larger  orchestra  represents  the 
principle  of  evil  in  the  human  heart,  and  the  smaller, 
that  of  good.  The  last  of  Spohr's  programme  sym- 
phonies is  called  "  Die  Jahreszeiten  "  ("  The  Sea- 


THE  SYMPHONY.  23 

sons  "),  the  first  part  of  which  is  entitled  "  Winter, 
transition  to  spring,  spring,"  and  the  second  part 
"  Summer,  transition  to  autumn,  autumn,"  enriched 
in  its  close  with  stirring  hunting  music  and  a  pop- 
ular vintage  song  of  the  Rhine. 

After  Spohr  we  enter  upon  the  romantic  school 
of  the  symphony  as  illustrated  by  Schubert,  Men- 
delssohn,  and   Schumann.     We  hear   no  more  of 
the  happiness  or  sorrow  of  men.     We  are  in  the 
realm  of  fantasy,  peopled  with  sprites  and  elves, 
fairies   and   ghosts.     The    dreamy  side  of  human 
nature,  with  all  its  fanciful  shapes  and  visions,  its 
rich  imaginings  as  well  as  its  sombre  creations,  ap- 
pears in  the  works  they  have  left  as  heirlooms  for 
the  lovers  of  music  through  all   time.     Schubert, 
like  Beethoven,  wrote  nine  symphonies ;  but  it  was 
not  until   after  his  death  that  the  world  became 
acquainted  with   any  of  them,  —  an   acquaintance 
which  even  now  hardly  extends  beyond  his  Fourth 
("  the   Tragic "),  the  Eighth,  which  was   left   un- 
finished, and  the  Ninth,  in  C  major.     Sir  George 
Grove,  who  has  done  so  much  for  Schubert's  music, 
was  the  first  to  present  his  symphonies  to  the  world 
in  their  regular  order.     His  catalogue  is  as  follows  : 
No.  I,  in  D,  1813 ;  No.  2,  in  B  flat,  1815  ;  No.  3, 
in  D,  1815  ;  No.  4,  in  C  minor  ("Tragic"),  1816  ; 
No.  5,  in  B  flat,  i8i6;  No.  6,  in  C,  1818;  No.  7, 
in  E,  a  fragment,  182 1  ;  No.  8,  in  B  minor,  familiar 
to  the  concert-goer  as  "The  Unfinished,"  1S22  ;  and 
No.  9,  in  C  major,  1828.     It  is  known  that  there 
was  another  besides  these,  probably  written  in  1825, 


24 


THE  STANDARD  SYMPHONIES. 


the  manuscripts  of  which  are  lost.  Of  these  sym- 
phonies the  Eighth  and  Ninth  are  characterized  by 
an  originaHty  and  richness  of  melody  that  have 
made  them  prime  favorites  with  all  lovers  of  music. 
His  earlier  works  show  the  traces  of  Mozart's, 
Haydn's,  and  Beethoven's  influence ;  but  these  two 
reflect  his  own  personality,  and  teem  with  the  same 
beautiful  thoughts  and  fancies  which  abound  in  his 
matchless  songs. 

Schumann  did  not  begin  orchestral  composition 
until  late  in  his  career.  He  was  bom  in  1810,  died 
in  1856,  and  his  First  symphony  is  dated  1841. 
His  earlier  years  were  devoted  to  the  piano  and 
vocal  works,  but  his  first  symphonic  production 
showed  extraordinary  success  in  mastering  the  high- 
est form  of  music.  He  has  left  but  four  sympho- 
nies :  No.  I,  in  B  flat;  No.  2,  in  C  major;  No.  3, 
in  E  flat,  and  No.  4,  in  D  minor  (the  numbers 
referring  to  publication,  not  creation)  ;  and  the 
"  Overture,  Scherzo,  and  Finale "  which  is  also 
classed  as  a  symphony.  The  qualities  of  Schu- 
mann's nature  are  as  clearly  marked  in  the  sym- 
phonies as  in  his  cycles  of  songs,  into  which  he 
has  so  closely  projected  himself  that  they  bear  no 
relations  to  any  others,  or  in  his  characteristic 
works  for  the  piano,  such  as  the  "  Papillons," 
"  Carnival,"  "  Davidsbtindlertanze,"  "  Kreisleriana," 
or  "Faschingsschwank."  He  was  warmly  enthusias- 
tic, highly  poetical,  and  visionary,  wellnigh  to  mys- 
ticism. His  fancy  colored  his  musical  thoughts 
sometimes  with  radiant  tints  and  again  with  sombre 


THE  SYMPHONY.  25 

colors,  foreshadowing  the  mental  gloom  into  which 
he  was  destined  to  sink.  His  friend  EUert  says 
of  him :  — 

"  He  moved  so  little  in  real  life  that,  as  a  result,  the 
most  alive  of  his  creations  ever  carried  with  them 
traces  of  a  dream.  All  who  have  enjoyed  his  personal 
acquaintance  will  find  this  statement  confirmed  by  his 
whole  manner.  When  he  spoke,  it  seemed  as  though 
he  were  first  compelled  to  come  to  terms  with  an 
inner  vision ;  everything  appeared  to  beam  in  a  radi- 
ance from  another  world.  His  glance,  his  speech,  and 
motions  seemed  veiled.  The  gentle  flower-image  of 
his  inner  hfe  unveiled  itself  only  to  the  moonlight. 
One  became  imbued  with  the  feeling  that  to  him  all 
the  phenomena  of  the  actual  world  were  but  correlative 
to  his  dreams." 

Schumann's  symphonies  represent  not  so  much 
the  results  of  education,  for  he  had  no  special 
schooling  for  orchestral  waiting,  as  his  feeHngs  ex- 
pressed in  a  musical  form  of  his  own,  —  a  form 
which  after  all  bears  closer  relation  to  Beethoven's 
and  Mozart's  works  than  any  of  his  contemporaries 
have  reached,  though  he  frequently  departs  from  the 
conventional  rules,  reproduces  the  thoughts  of  one 
movement  in  another,  runs  movements  together, 
and  allows  his  fancies  full  rein  even  to  the  extreme 
of  melancholy  in  a  Scherzo.  The  B  flat  symphony, 
which  Schumann  himself  called  "  Spring,"  is  full  of 
joy  and  freshness  and  a  longing  which  sometimes 
grows  pensive.     In  the  C  major  there  is  no  unrest. 


26     THE  STANDARD  SYMPHONIES. 

Its  mood  is  brisk,  stirring,  delightfully  imaginative, 
and  warm  in  color.  The  E  fiat,  a  so-called  Rhen- 
ish symphony,  is  the  most  striking  of  them  all.  It 
is  in  reality  a  series  of  impressions  as  they  passed 
through  the  composer's  mind.  The  Scherzo  recalls 
legends  of  the  Rhine ;  the  third  movement  has  sub- 
jects closely  identified  with  the  songs  of  the  people  ; 
the  fourth  gives  the  feelings  which  filled  his  soul 
during  a  ceremony  in  the  Cologne  Cathedral,  and 
the  fifth,  the  out-door  holiday  life  of  the  city,  in 
contrast  with  the  grandeur  of  the  religious  pageant. 
The  D  minor  symphony,  the  title  of  which  in  the 
original  autograph  is  "  Symphonische  Fantasie," 
is  a  portrayal  of  various  thoughts  and  emotions, 
sometimes  in  conflict,  but  mostly  based  upon  a 
genial   contemplative   mood. 

Mendelssohn  followed  in  the  same  general  direc- 
tion of  programme-music,  but  his  happier  nature 
led  him  on  more  genial  and  sunny  roads.  He  had 
written  thirteen  symphonies  before  he  reached  his 
sixteenth  year,  —  the  last  of  them,  in  C  minor,  a  very 
mature  work  in  the  classical  form  ;  but  his  fame  as  a 
symphony  writer  rests  upon  the  four  which  followed 
them.  The  Reformation  symphony,  which  was 
intended  for  the  Augsburg  Protestant  Confession  in 
1830,  is  a  clear  illustration  of  the  conflict  which 
Luther  precipitated,  the  old  church  being  typified 
by  the  Amen  passage  in  the  earlier  part  of  the  work, 
and  the  new  by  the  use  of  the  stately  old  chorale 
"  Ein'  feste  Burg  "  in  the  close.  In  his  next  sym- 
phony, the  Italian,  written  in  Rome  and  Naples, 


THE  SYMPHONY. 


27 


there  is  confessedly  a  purpose  to  reflect  phases  of 
ItaHan  Hfe,  though  it  does  not  appear  conspicuously 
except  in  the  graceful  and  vivacious  Saltarello.  The 
Scotch  symphony  in  A  minor  is  another  musical 
picture  recalling  reminiscences  of  Scotland,  and 
more  remarkable  for  local  color  than  the  Italian. 
His  remaining  symphony,  the  Lobgesang,  is  also 
programme-music  of  a  religious  character,  introduc- 
ing the  vocal  parts  of  the  "  Hymn  of  Praise  "  in 
the  manner  of  Beethoven's  ninth. 

Since  the  period  of  Schubert,  Schumann,  and 
Mendelssohn  numerous  symphony  composers  have 
appeared,  among  them  Rubinstein,  Berlioz,  Brahms, 
Gade,  Raff,  Liszt,  Volkmann,  Reinecke,  Tschai- 
kowsky,  Hofmann,  Dvorak,  Saint-Saens,  Goetz, 
Lachner,  and  others,  among  whom  Brahms  stands 
at  the  head  as  the  clearest  representative  of  the 
symphony  in  its  old  classic  form.  All  of  these 
\vriters  have  aimed  with  more  or  less  success  to 
embody  definite  characteristics  in  their  works,  as 
the  names  given  to  them  signify ;  such  as  "  The 
Forest,"  "  Leonora,"  "  Ocean,"  "  Dramatic," 
"  Spring,"  "  Elegiac,"  "  Manfred,"  etc.  Among 
the  moderns,  however,  none  have  followed  the  pro- 
gramme more  closely  than  Liszt  in  his  "  Faust  " 
and  "  Dante "  symphonies,  and  Berlioz  in  his 
"  Harold  in  Italy  "  and  "  Episodes  in  the  Life  of 
an  Artist." 

It  remains  to  mention  briefly  the  Symphonic 
Poem,  —  a  term  invented  by  Liszt  for  orchestral 
compositions  which,  dispensing  with   the  four  dif- 


28     THE  STANDARD  SYMPHONIES. 

ferent  movements,  condense  the  poetical  contents 
into  one,  though  different  tempos  may  be  employed 
according  to  the  need  of  musical  expression.  Strik- 
ing examples  may  be  found  in  the  "  Preludes  "  and 
"  Tasso  "  of  Liszt,  and  the  "  Phaeton  "  and  "  Rouet 
d'Omphale"  of  Saint-Saens.  They  are  always 
dramatic  and  poetical,  but  at  the  same  time  are 
sufficiently  musical  and  well  defined  in  form  to  lend 
themselves  to  legitimate  musical  and  even  thematic 
treatment. 


BEETHOVEN. 


HE  story  of  Beethoven's  life  and  career 
has  been  told  with  so  much  of  detail  in 
the  preceding  works  of  this  series  de- 
voted to  the  opera,  oratorio,  and  cantata, 
that  it  is  only  necessary  in  this  sketch  to  suggest  a 
iew  general  points  in  connection  with  his  sympho- 
nies. Beethoven's  nine  symphonies  extend  over  a 
period  of  about  twenty-four  years,  or  from  1799, 
which  is  presumed  to  be  the  date  of  his  first,  to 
1823.  The  critics,  by  very  general  consent,  have 
divided  his  years  of  composition  into  three  differ- 
ent periods,  which  are  defined  by  peculiarities  of 
style.  The  first  is  the  Haydn-Mozart  period,  clos- 
ing with  the  year  1802,  and  to  this  are  referred 
the  First  and  Second  symphonies,  in  which  the  in- 
fluence of  his  two  great  predecessors  is  clearly  ob- 
served. It  is  uncertain  when  the  First  was  written. 
Beethoven  made  sketches  for  it  as  early  as  1795, 
but  it  was  not  brought  to  performance  until  1800. 
The   Second  was   finished   in    1802.     The  second 


30 


THE  STANDARD  SYMPHONIES. 


period,  or  that  of  Beethoven's  strict  style,  is  in- 
cluded between  the  years  1802  and  1815,  i^^  which 
are  to  be  found  those  great  works  of  his  genius 
reflecting  his  own  individuality  and  which  will  al- 
ways commend  themselves  to  the  musical  world. 
To  this  period  belong  the  Third  (Heroic),  1805  ; 
Fourth,  1806  ;  Fifth,  1808  ;  Sixth  (Pastoral),  1808  ; 
Seventh,  1812  ;  and  Eighth,  1812.  The  third  pe- 
riod, from  1816  to  1826,  covers  that  sorrowful  time 
in  his  life  when  his  ears  were  closed  to  all  outward 
sounds,  and  in  this  he  produced  his  Ninth,  or  Choral, 
symphony  (1823),  which  forms  the  cHmax  of  his 
wonderful  career.  To  the  composition  of  these  great 
symphonies  Beethoven  brought  unusual  knowledge 
of  harmony  and  orchestral  effects,  inexhaustible 
fancy,  and  the  highest  pitch  of  human  sentiment 
and  poetical  purpose.  He  broadened,  enlarged, 
and  dignified  the  symphony  by  making  it  not  only 
the  agency  for  the  proper  expression  of  musical 
themes,  but  a  revelation  of  the  inner  nature  of  the 
individual  and  of  mankind. 


SYMPHONY  No.  1,  IN  C  MAJOR.     Op.  21. 

1.  Adagio  molto.    Allegro  con  brio. 

2.  Andante  cantaeile  con  moto. 

3.  !Menuetto  e  Trio. 

4.  Adagio.    Allegro  molto  e  vivace. 

The  date  of  Beethoven's  First  symphony  has  not 
been  definitely  ascertained.  Sketches  of  its  Finale 
are  found  as  early  as  1795,  though  the  work  was 


THE  SYMPHONY  IN  C  MAJOR.  31 

not  performed  until  April  2,  iSoo,  at  a  concert  in 
Vienna,  conducted  by  the  composer.  It  was  prob- 
ably completed  in  1799,  as  shortly  after  that  time 
he  offers  the  manuscript  to  the  music  publishers, 
Hofmeister  and  Peters,  of  Leipsic,  for  what  seems 
now  the  ridiculously  small  sum  of  twenty  ducats 
(350). 

With  the  first  bar  Beethoven  puts  himself  on 
record,  saying  :  "  This  is  I,  gentlemen  ;  and  please 
do  not  forget  that,  although  I  have  studied  under 
Albrechtsberger,  and  have  feasted  on  the  fruits  of 
Haydn's  and  Mozart's  genius,  I  mean  to  introduce 
myself  and  remain  hereafter  yours  individually." 
The  symphony,  in  the  key  of  C  major,  does  not 
begin  with  the  common  chord  of  C,  but  with  a 
seventh  chord  on  C,  resolving  into  F  major,  at  that 
time  an  unheard-of  proceeding  :  — 


Adagio  molto. 


V~^9.     ^^     I  -^H-5i 


-J-    :  r    f^-^      ♦  ~  "    :±:         ±    ♦     i 

-T 1 — ■&  •'^ r}r» • •— H*^ 


I 


etc. 


^•r,  N  "--t- 


-m 1= •— • 1- 

1  I     I    bj 


This  short  introduction,  in  which  Beethoven  also 
gives  us  a  foretaste  of  his  inherent  predilection  for 
the  extraordinary  use  of  dynamics  (sudden  changes 
from  forte  to  piano)  leads  us  in  twelve  measures  to 
the  first  movement,  Allegro  con  brio,  with  this  prin- 
cipal theme  :  — 


32 


THE  STANDARD  SYMPHONIES. 


Violin. 


Flutes. 


^^t 


-P-etc. 


*psp^^i 


The  flutes  take  up  the  cadence  and  lead  through 
C  and  C  sharp  into  a  repetition  of  the  theme  one 
step  higher  in  D  minor,  bringing  it  the  third  time 
in  a  slightly  altered  form  on  the  dominant  chord  of 
G  and  leading  back  into  the  principal  key  of  C. 
The  second  theme  — 


Oboe. 


i 


#: 


^ 


Oboe. 


r-irr^nr 


i^ 


^fe 


^ 


Violin. 


r 


Flute. 


A.- 


i 


fFF^^^f^ 


—^ — r  4^ h 


s/ 


includes  in  its  melody  another  of  Beethoven's  idio- 
syncrasies, namely,  the  syncopations  at  a,  while 
the  broken  chords  in  the  staccato  accompaniment 
foreshadow  his  preference  for  decided  figures  in 
his  basses.  This  application  of  a  melodious  bass 
we  find  a  few  measures  farther  on  in  the  following 
passage  :  — 


Violin. 


Fifff 


etc. 


S 


K^^iI^C=^55tr-=?S^ 


THE  SYMPHONY  IN  C  MAJOR. 


33 


The  second  part  opens  with  the  principal  theme 
in  A  major,  which  after  some  modulations  is  re- 
iterated fortissimo  and  in  unison  by  the  whole 
orchestra.  The  chromatic  step  C,  C  sharp,  for  the 
winds,  which  we  found  in  the  beginning,  leading 
into  a  repetition  in  D  minor,  is  now  extended  to  a 
quasi  chromatic  scale,  running  through  an  octave 
and  a  half,  and  leading  in  a  steady  crescendo  into 
the  dominant  and  thus  back  to  the  second  theme, 
which  appears  now  in  the  original  key  of  C.  Near 
the  close  of  the  movement,  Beethoven  very  in- 
geniously gives  us  a  reminder  of  his  opening  chords 
and  their  resolution  by  using  the  principal  theme 
in  part,  thus,  — 


Flute. 


^      ^      ^ 


^ i- 


T3t 


overlaying  it  in  the  winds  with  a  seventh  chord. 
The  connecting  figures  and  phrases  remind  one  of 
Mozart,  and  the  treatment  throughout  is  simple  and 
clear. 

Tlie  Andante  cantabile  con  moto,  %  time,  in  the 
key  of  F,  opens  with  the  following  melody,  — 

VtoUn  II. 


answered  in  canon  by  the  violas  and  'cellos.  The 
opening  step  C  to  F,  enlarged  to  a  sixth,  G  to  E, 
makes  the  second  phrase  of  the  movement  a  natural 

3 


34 


THE   STANDARD   SYMPHONIES. 


sequence  of  the  first.  In  the  last  eight  measures 
of  the  first  part,  Beethoven  again  steps  out  of  the 
beaten  track  of  using  the  kettle-drum  only  as  a 
kind  of  metronome,  by  giving  it  the  following  rhyth- 
mic phrase  accompanying  a  triplet  figure  in  the 
violins  :  — 

Violin. 


^^##^g 


^S^iS^^^SS 


Timpani. 

The  step  C  to  F,  in  connection  with  the  pulsating 
beat  of  the  drum,  furnishes  the  composer  the  ma- 
terial for  the  opening  of  the  second  part  of  the 
Andante,  which  is  worked  out  with  the  utmost  deli- 
cacy and  closes  with  one  of  those  dynamic  contrasts 
of  which  Beethoven  was  so  fond. 

The  Minuet,  Allegro  molto  vivace,  |  time,  in  C 
major,  was  the  composer's  most  serious  attempt  to 
impress  his  individuality  upon  a  form  which  had 
been  so  strongly  defined  by  his  predecessors,  and 
which,  as  the  representative  of  the  dance  Minuet, 
seemed  to  have  been  almost  exhausted  by  Haydn 
and  Mozart.  Beethoven,  recognizing  the  fitness  of 
a  bright  and  sprightly  movement  between  the  An- 
dante and  the  last  movement  of  the  sonata  form, 
aimed  at  once  to  break  through  the  form  of  the 
Minuet  proper  and  create  the  Scherzo  and  Trio, 
which  he  afterward  developed  so  successfully. 
The  movement  under  consideration,  although  en- 


THE  SYMPHONY  IN  C  MAJOR. 


35 


titled  "  Minuet,"  is  really  a  Scherzo.  Its  beginning 
reveals  those  characteristics  of  the  composer  which 
further  study  of  his  works  forces  us  to  admire  the 
most  in  him,  —  simolicity  and  strength.  Look  at 
the  opening :  — 


f 


iJ^ 


Its  tonal  design  appears  to  be  nothing  but  the  scale 
of  G  major,  but  what  does  it  become  under  the  hands 
of  the  young  master? 


etc. 


The  second  part  of  the  Minuet  is  remarkable  for 

its   modulation,  and  there   is    something   infinitely 

humorous  in  the  measures  which  follow  this  tour  de 

force,  when  A  nudges  B,  as  much  as  to   say :  Did 

you  hear  that?  — 

Violin. 


etc. 


Fagotto  and  Oboe. 


^ 


^■5E 


5=?= 


-5=gq 


r4=— 1=- 


fSP 


Basses. 


until  their  pianissimo  comments  are  cut  short  by 
the  statement  of  the  opening  scale  fortissimo. 
Referring  to  the  syncopations  — 


36  THE  STANDARD  SYMPHONIES. 


f 


* 


3r 


=^ 


£ 


^ 


E^ 


^ 


^ 


:^ 


f 


=t: 


r  r  ■  f  r  ■  r  r     r 

we  have  before  us  most  of  those  qualities  which 
elevated  the  composer  above  all  his  rivals  in  his 
after  life.  The  Trio  is  very  simple  and  chiefly 
based  on  the  interchange  of  the  wind  and  string 
choirs,  and  the  Minuet,  da  capo,  closes  the  move- 
ment. 

The  Finale  opens  with  a  few  bars  of  Adagio. 
After  a  hold  on  G,  the  first  violins  daintily  explore 
the  ground  in  this  fashion,  — 


but  no  sooner  have  they  reached  the  last  lookout 
and  made  sure  that  the  ground  is  clear,  than  they 
rush  off  in  their  mad  dance.  Allegro  molto  vivace  : 


The   duenna   of  the    party   puts  in   her   word   of 
caution,  — 

1 


Violin. 


f 


5SJ_^dji-a 


Fagotto. 


LU 


-a^ 


•etc. 


Bass. 


■liJ 


but  it  is  taken  up  in  mockery  by  the  basses,  and 
the  whole  company  are  off  again.  It  goes  without 
saying  that  this  movement  reminds  us  of  Haydn. 
Why?     Chiefly  because  the  composer,  in  inventing 


THE  SYMPHONY  IX  C  MAJOR. 


his  theme,  suffered  himself  to  be  influenced  entirely 
by  the  characteristics  of  the  instruments, — a  method 
which  he  discarded  as  he  grew  stronger.  The 
opening  phrase  of  the  Allegro  is  a  violin  figure, 
pure  and  simple,  and  the  scale  runs  of  the  second 
part  are  but  threads  compared  with  the  scale  which 
we  found  overlaying  the  harmonic  structure  of  the 
opening  of  the  Minuet.  The  second  theme  of 
the  Finale  is  the  following, — 


coquettishly  set  off  against  the  steady  basses  and 
entirely  in  keeping  with  the  spirit  of  the  whole. 

In  the  First  symphony  Beethoven  still  clings  to 
the  accepted  musical  forms.  He  has  not  yet 
emancipated  himself  from  the  domination  of  the 
instruments,  nor  risen  to  bid  them  keep  silence 
until  he  needs  them  for  his  individual  expression  ; 
hence  the  occasional  phrases  which  remind  us  of 
Haydn  and  Mozart.  And  yet  the  symphony  shows 
us  in  embryo  all  those  qualities  which  made  Beet- 
hoven the  greatest  symphonic  writer  the  world  has 
thus  far  produced.  As  music  the  work  is  charming. 
It  is  not  heroic  in  the  Allegro,  nor  oppressively  sad 
in  the  Andante,  but  delightful  from  beginning  to 
end.  It  is  not  without  intricacies  and  occasional 
discords,  yet  everything  is  clear,  bright,  and  grateful 
to  the  ear. 


38  THE  STANDARD  SYMPHONIES 

SYMPHONY  No.  2,  IN  D.    Op.  36. 

1.  Adagio  molto.    Allegro  con  brio. 

2.  Larghetto. 

3.  Scherzo  and  trio.    Allegro. 

4.  Allegro  molto. 

Beethoven's  Second  symphony  was  completed  in 
the  year  1802,  the  composer  then  being  in  the 
thirty-second  year  of  his  age.  The  first  sketches  for 
this  symphony  were  found  in  his  note-book,  which 
was  edited  and  published  by  Nottebohm  some  years 
since.  It  is  evidence  of  the  care  which  Beethoven 
bestowed  upon  his  work  that  the  sketches  for  it 
occupy  eleven  pages  of  the  book,  and  we  have  the 
further  testimony  of  Cipriani  Potter  that  he  wrote 
three  complete  scores  before  he  was  satisfied. 
When  finished,  it  was  dedicated  to  Prince  Lich- 
nowski,  who  was  also  honored  with  the  dedication 
of  the  exquisite  Sonate  Pathdtique.  The  sym- 
phony was  first  heard  at  the  Theater  an  der  Wien 
(Vienna),  April  5,  1803. 

The  Second  symphony,  although  laid  out  on  a 
somewhat  larger  scale  than  the  First,  shows  us  the 
composer  in  the  normal  condition  of  a  man  at 
peace  with  himself  and  the  world,  happy  in  his  art, 
and  not  yet  stirred  to  his  very  soul  by  the  sorrows 
of  life.  It  begins,  like  the  first,  with  an  introduc- 
tory Adagio,  although  of  much  greater  length. 
The  sturdy  opening  on  a  hold  on  D,  in  unison  by 
the  whole  orchestra,  is  at  once  followed  by  an  ex- 
quisite phrase  for  the  oboes  and  bassoons.     Similar 


THE  SYMPHONY  IN  D. 


39 


contrasts  prevail  until  the  opening  of  the  Allegro 
con  brio,  \  time.  The  theme  is  given  out  by  the 
'cellos,  and  in  the  repeat 


E^£ 


-#- 


-&-^ 


^ 


^ 


'Cello. 

the  basses  softly  join  them.  The  last  part  of  the 
motive  is  somewhat  emphasized  by  repeating  the 
step  of  a  third  on  the  quarter  notes  at  a,  to  a 
connecting  melody  in  the  winds,  until  the  strings 
take  up  the  first  part  of  the  theme  given  above,  and 
carrying  it  up  into  the  seventh,  enlarge  the  scope 
for  a  sweeping  violin  figure,  which  with  a  pro- 
nounced staccato  phrase  serves  as  a  connection 
with  the  second  theme  :  — ■ 


t 


Clar. 


g 


%=^=^h^ 


W 


r^ 


^-^*- 


Fag.  I 


Violins, 


Wm^^ 


This  theme  is  scarcely  inferior  in  its  jubilant 
expression  to  any  similar  outburst  in  Beethoven's 
later  works.  The  Finale  of  the  Fifth  symphony  may 
have  a  more  impetuous  rush,  but  we  have  here 
the  same  joyous  spirit,  exulting  in  its  youth  and 
strength.  This  feeling  is  intensified  in  the  repeat 
by  a  trill-like  figure  in  the  violins,  apparently  trem- 
bling with  excitement  to  break  into  the  fortissimo 


40 


THE  STANDARD  SYMPHONIES. 


of  the  second  half  of  the  theme,  which  now  runs 
into  this  motive  — 


f 


Violin, 

until  after  a  number  of  abrupt  chords  fortissimo  the 
full  orchestra  stops  on  a  diminished  seventh  chord 
(Gif,  B,  D,  F),  followed  by  three  quarters'  rest,  dur- 
ing which  the  question  naturally  arises  in  the  mind 
of  the  hearer,  "  What  next?  "  We  are  in  expecta- 
tion of  some  crashing  resolution,  when  a  soft  mur- 
mur strikes  the  ear  from  the  strings,  — 

Violin.  cresc. 


etc. 


and  not  until  after  a  crescendo  of  eight  measures 
are  we  gratified  with  a  satisfactory  closing.  The 
second  part  deals  chiefly  with  the  same  material,  a 
new  feature  being  added  by  the  counter-movement 
of  a  broken  scale  against  the  theme,  — 

Violin. 


i 


m^^ 


m 


f 


/ 


etc. 


g 


?nY  ^  ^  f  iWtfM 


-y^-^ 


f     Basses. 

and  the  constant  tossing  about  of  the  motive 


i 


=?=5^ 


% 


THE  SYMPHONY  IN  D. 


41 


The  second  half  of  the  second  theme  furnishes  the 
composer  the  material  for  the  following  exquisite 
phrase  :  — 


Flutes. 


m 


*-^k- 


3Z 


*rfr-r1r 


W 


I    III    I 


Odae. 


yiolin.~^ 
Fagotti.    1  J 


f 


H 


etc. 

i 


m 


It 


It 


Basses. 


The  close  is  exceeding  bold,  the  basses  rising  in  a 
slow  chromatic  scale  throughout  an  octave  from  D 
to  D,  the  violins  trj'ing  to  counterbalance  it  by  the 
other  extreme  of  gigantic  strides,  thus  :  — 


m 


4 


? 


^ 


«/ 


«f 


«/ 


«/ 


The  movement  ends  with  a  feehng  of  exultant  joy 
and  happiness. 

The  Larghetto  in  A  major,  I  time,  is  one  of  the 
loveliest  slow  movements  Beethoven  ever  wrote,  and 
is  a  special  favorite  in  the  concert-room.  The 
opening  theme,  — 


^m 


9 


r^fpr 


:e±: 


UL'lf  ClJ^ 


-etc. 


given  out  by  the  strings  and  repeated  by  the  winds, 
is  a  flowing  cantilena  of  exceeding  beauty,  unin- 
terrupted by  any  staccato  or  even  any  well-marked 
incision   in  the   phrasing.     Even  the  syncopations 


42 


THE  STANDARD  SYMPHONIES. 


on  E  in  the  violins  have  a  coaxing  character,  rather 
than  the  spirit  of  stubbornness.    The  second  phrase, 


^^m 


f 


i» 


ir^ 


^ 


s 


•  I*  > 


^ 


t»l^ 


with  its  endearing  half-step,  only  intensifies  the  gen- 
eral feeling  expressed  in  the  first.  A  long  dialogue 
follows  between  two  lovers,  which  hardly  needs 
musical  quotation  to  be  thoroughly  understood  by 
the  attentive  listener.  It  is  one  of  those  grateful 
feats  of  genius  that  captivates  the  casual  hearer  as 
much  by  its  perfect  beauty,  as  it  delights  the  stu- 
dent who  investigates  the  means  by  which  such 
perfect  expression  of  a  lovely  sentiment  is  obtained. 
The  Scherzo  here  appears  under  its  own  name 

■^"1^^°'   and  is  in  the  key  of  D,  \  time. 

\\1^  %  4  I*  r  '~1  It  is  built  up  on  the  short 
motive  of  three  notes  repeated  over  and  over 
again,  first  by  the  basses,  then  by  the  violins,  and 
again  by  the  horns,  after  which 
the  oboes  bring  it  reversed, 
at  one  time  fortissimo  and  again  piano,  but  ever 
tripping  along  staccato  until  the  violins  in  the  sec- 
ond part  indulge  in  a  temporary  sweep  of  descend- 
ing scale,  followed  by  a  reminder  of  the  leading 
figure  of  the  first  Allegro  :  — 


--B^^ 


The  three-note  motive,  however,  soon  stops  such 
vagaries,  and  barring  a  short  chromatic  phrase  car- 
ries the  day.     The  Trio  begins  with  a  short  phrase 


THE  SYMPHONY  IN  D. 


for  oboes  and  fagottos  played  twice  and  ending  in 
D.  The  violins,  as  if  vexed  by  the  liberty  the 
winds  have  taken,  in  appropriating  sixteen  meas- 
ures to  themselves,  follow  with  a  determined  stroke 
on  the  third  (F  sharp)  ;  and  as  if  bent  on  destroy- 
ing any  pleasant  impression  that  the  winds  might 
have  left,  turn  the  note  into  the  tonic  of  the  chord 
of  F  sharp,  — 


t 


bis. 


^ 


S 


^DC 


TT 


■poc 


w 


rJ  ■  I  --J 


/        «/ 


Tj-I  ■^'-J-j J 


etc. 


eventually  quieted  down  on  the  same  F  sharp,  thus 
preparing  the  way  for  a  more  social  feehng  among 
all  the  members  of  the  orchestra  during  the  rest  of 
the  Trio. 

The  Finale,  Allegro  molto,  in  D  major,  expresses 
the  same  happy  mood  that  characterizes  the  pre- 
ceding movements.  The  opening  motive  is  thor- 
oughly characteristic  of  Beethoven,  and  for  piquancy 
has  few  rivals  among  the  composer's  works  :  — 


_  Violin. 

*^- •^ 


^E 


:t 


^m 


M 


ItE 


-etc. 


Then  follows  a  longer  period,  in  which  the  winds 
carry  the  melody  while  the  strings  furnish  an  ap- 
parently monotonous  staccato  accompaniment.  h\ 
the  further  working  up,  that  part  of  the  motive  con- 
taining the  trill  is  also  more  extensively  emjjloyed, 
but  the  peculiarity  of  the  appoggiatura  during  a 
fortissimo  phrase  of  sixteen  measures  shows  us 
Beethoven  at  his  best.     Right  here  we  have  also 


44 


THE  STANDARD  SYMPHONIES. 


an  instance  where  the  composer  exchanges  humor 
for  downright  fun.  Imagine  the  beginning  of  the 
following  quotation 

Violin. 

± , ,«    J^J- 


l^^  r  f  r  r  r-F^pamncmpE^ 


'W:^^ 


f 

etc. 

fortissimo,  supported  by  the  whole  orchestra,  clos- 
ing at  a  with  a  sforzando  crash,  followed  by  the 
weazened  little  gasp  of  the  first  violin  pianissimo, 
then  by  a  pause  and  a  repetition  of  this  whimpering 
appoggiatura,  finally  after  a  second  pause  the  whole 
orchestra  breaking  in  at  b  with  the  opening  motive, 
forte.  The  close  is  worked  out  into  a  Coda  of 
considerable  length,  starting  from  two  successive 
holds  with  a  new  rhythmic  figure,  which  however 
soon  merges  into  the  general  whirl  of  joyous  mirth 
pervading  the  whole  movement. 

SYMPHONY  No.  3,  IN  E   FLAT    (EROICA).    Op.  55. 

[Heroic  symphony,  composed  to  celebrate  the  memory  of  a  great 
man.     Dedicated  to  his  serene  highness,  Prince  Lobkowitz,] 

1.  Allegro  con  brio. 

2.  MaRCIA  FUNiBRE.      AdAGIO  ASSAI. 

3.  Scherzo  and  Trio.    Allegro  vivace. 

4.  Finale.    Allegro  molto. 

Beethoven  first  projected  the  Third  symphony  in 
1802  and  finished  it  in  1804.  "Eroica"is  hkely 
to  mislead  the  hearer  if  he  supposes  the  music  to 


THE  SYMPHONY  IN  E  FLAT.  45 

be  of  a  martial  character,  and  we  therefore  add  the 
complete  title  of  the  work,  as  it  first  appeared  in 
print.  It  was  :  "  Synfonia  Eroica,  composta  per  pes- 
teggiare  il  sovvenire  di  un  grand'  Uorao,  dedicata," 
etc. ;  that  is,  "  Composed  to  celebrate  the  memory 
of  a  great  man,"  namely,  the  heros,  in  its  widest 
sense.  The  first  manuscript  copy,  however,  bore  the 
following  inscription :  — 

Sinfonia  grande, 

Napoleon  Buonaparte, 

1804  in  Augiist : 

del  Sigr  ; 

Louis  van  Beethoven. 

Sinfonia  3.  Op.  55. 

And  the  fly-leaf  of  the  copy,  which  the  composer 
retained,  had  the  words,  "  Luigi  van  Beethoven  "  at 
the  top,  and  "  Buonaparte  "  at  the  bottom.  It  is 
known  that  Beethoven  watched  with  deep  interest 
the  great  revolution  in  France,  hoping  that  the  free- 
dom he  imagined  and  desired  would  rise  above  the 
sans-culotte's  liberie  and  enlighten  the  world.  One 
man  attracted  his  attention  and  kindled  his  enthu- 
siasm. Napoleon  Bonaparte  had  appeared  like  a 
sun  above  the  sea  of  confusion  and  mediocrity,  ris- 
ing rapidly  but  steadily  until  it  seemed  he  would  be 
the  foremost  hero  of  the  republic.  For  Beethoven 
the  1 8th  Brumaire  had  no  forebodings  of  an  i8th 
Mai ;  and  when  he  first  heard  of  the  "  Vive  FEfn- 
pe7-eiir''  he  took  the  score  of  his  Eroica,  tore  its 
titlepage  in  two,  and  threw  the  work  on  the  floor. 
His  idol  was  shattered.  The  copy  which  had  been 
prepared  for  the    French  legation  at  Vienna  was 


46     THE  STANDARD  SYMPHONIES. 

withdrawn,  and  the  symphony  was  finally  published 
in  memory  of  "  un  grand'  Uomo." 

Such,  in  brief,  are  the  facts  relating  to  its  origin. 
As  biographical  data,  they  will  be  received  with  the 
interest  usually  attached  to  such  information,  but  in 
their  bearing  on  the  composition  they  become  of 
far  greater  interest  and  importance.  Had  Beetho- 
ven written  the  first  two  movements  only  and  called 
the  work  "  Napoleon,  a  Symphonic  Poem,"  a  run- 
ning text  could  easily  have  been  supplied,  and, 
although  there  might  be  different  versions,  the  fun- 
damental idea  would  have  been  the  same  in  all. 
But  he  was  still  in  the  bondage  of  the  symphonic 
form  as  it  then  existed,  or  at  any  rate  chose  to 
adhere  to  the  four  classical  movements,  thereby 
sorely  puzzling  the  enthusiastic  critics  who  were  to 
dissect  his  work  and  explain  to  the  admiring  listener 
the  intention  and  meaning  of  every  phrase  ;  for  that 
he  had  a  very  decided  meaning  and  purpose  in 
writing  this  work  we  may  well  believe.  The 
Eroica  was  not  thrown  off  in  ten  days  nor  ten 
months.  Beethoven  had  for  years  been  gathering 
the  material  and  crystallizing  the  different  musical 
thoughts  which  go  to  make  up  this  mighty  drama, 
and  when  he  called  the  symphony  "  Napoleon 
Bonaparte,"  we  are  bound  to  believe  that  he  in 
his  way  had  sung  the  paean  of  the  hero,  as  he 
then   supposed   him   to   be. 

Admitting  in  the  first  movement  the  strife,  the 
battle,  whether  of  warring  races  or  of  one  man 
fighting  against  fate  and  fortune,  and  in  the  "  Mar- 


THE  SYMPHONY  IN  E  FLAT. 


47 


cia  Funebre  "  the  grandest  dirge  ever  sung,  whom  do 
we  follow  to  the  grave  amid  those  solemn  sounds, 
—  the  hero  of  the  play,  Napoleon  ?  Then  what  of 
the  third  and  fourth  movements?  The  biography 
ends  with  the  grave,  and  the  character  of  the 
Scherzo  and  Finale  will  not  admit  the  explanation 
of  a  r^sum^  or  commentary  on  the  life  just  closed. 
Marx  conceives  that  the  symphony  is  a  battle-piece. 
In  the  Scherzo  he  sees  the  busy  life  of  the  camp 
the  day  after  the  strife  ;  in  the  Finale  the  joys  and 
festivities  of  peace.  Wagner  finds  no  military  hero, 
but  literally  "  a  great  man,"  whose  qualities  are 
described  in  the  text.  Overpowering  force  leading 
to  a  tragic  result  characterize  the  first  two  move- 
ments. In  the  Scherzo  all  is  serene.  In  the 
Finale  the  "grand'  Uomo  "  is  harmoniously  devel- 
oped, freed  from  passion,  and  conquered  by  the 
power  of  love.  Berlioz  compares  the  Scherzo  to 
the  solemn  rites  which  the  warriors  of  the  Iliad 
celebrated  at  the  grave  of  their  leader,  continued 
in  the  Finale,  and  closing  with  a  hymn  of  victory. 
But  every  hearer  may  exercise  his  ingenuity  and 
fancy  upon  this  problem,  and  most  will  probably 
arrive  at  the  conclusion  that  the  music  of  these  two 
movements  was  written  for  music's  sake,  rather  than 
to  portray  any  phases  of  a  hero's  career. 

The  first  movement,  Allegro  con  brio,  in  E  flat, 
4  time,  has  a  number  of  themes  in  the  highest 
degree  characteristic,  showing  Beethoven's  power 
in  terse  and  precise  expression  of  musical  ideas. 
The  main  theme  is  given  out  at  the  very  beginning 


48  THE  STANDARD  SYMPHONIES. 

by  the  'cellos  in  a  quiet  manner,  but  after  twenty- 
four  measures  we  encounter  the  syncopations  which 
play  so  decided  a  part  in  this  great  picture  of  strife 
and  at  times  change  the  rhythm  practically  to  \ 
time,  although  the  movement  is  written  in  triple 
time.  A  tender  episode  for  the  winds,  repeated  by 
the  strings,  interrupts  the  turmoil,  but  after  a  short 
repose  a  rapid  crescendo  leads  again  to  the  clash- 
ing syncopations.  A  similar  treatment  is  adopted 
in  the  second  part,  the  whole  forming  one  of  the 
most  remarkable  pieces  of  orchestral  writing  ever 
accomplished. 

The  Adagio  assai  appeals  more  directly  to  the 
listener  with  its  sad  melody  in  C  minor  and  its 
heartfelt  tones  of  melancholy.  This  solemn  dirge, 
designated  by  the  composer  "  Marcia  Funebre,"  is 
followed  by  the  Scherzo,  Allegro  vivace.  The  con- 
trast in  the  heading  of  the  two  movements  would 
naturally  suggest  startling  incongruities  in  the  music  ; 
but  it  is  one  of  the  greatest  achievements  of  Beet- 
hoven's genius  that  he  surmounts  the  difficulty  in  a 
way  which  does  not  admit  of  an  idea  of  unfitness. 

The  Scherzo  begins  with  a  pianissimo  staccato, 
which  has  something  mysterious  in  its  character, 
moving  four  measures  in  the  step  of  a  secunda 
only,  and  that  on  the  lower  notes  of  the  violins. 
Not  until  the  fifth  measure  does  the  melody  rise  into 
the  higher  octave,  and  only  in  the  ninth  measure 
do  we  find  a  hint  of  the  lighter  character  of  the 
Scherzo  in  a  short  group  of  connected  descending 
notes.     Even  the  second  part  moves  in  a  similar 


THE  SYMPHONY  IN  E  FLAT. 


49 


manner  of  steps  and  half-steps  always  pianissimo. 
It  is  not  until  the  middle  of  this  part  that  it  breaks 
forth  with  a  sudden  fortissimo,  and  not  even  then 
without  a  reminiscence  of  the  syncopations  of  the 
first  Allegro.  A  change  from  \  into  alia  breve  \ 
during  four  measures,  and  back  again  into  \  time, 
is  a  conspicuous  example  of  Beethoven's  masterly 
application  of  rhythm  as  a  means  of  expression. 
The  Trio,  with  its  horn  passage,  finally  dispels  the 
gloomy  character  of  all  that  precedes,  and  calls  up 
more  peaceful  visions. 

The  last  movement,  Allegro  molto,  begins  with  a 
dominant  seventh  chord  in  the  form  of  a  cadenza, 
after  which  the  theme  enters  pizzicato.  This  mel- 
ody, in  its  intervals,  is  really  a  fundamental  bass,  and 
is  worked  up  in  the  form  of  variations,  ever  and 
anon  interrupted  by  a  hold  on  the  dominant  chord, 
until  a  new  theme  appears,  happier  and  brighter 
than  any,  dominating  the  last  part  of  the  movement. 
It  gives  room  to  a  severe  treatment  of  the  first 
theme  in  strict  counterpoint,  only  to  reappear  in  a 
Poco  andante  of  some  length,  which  without  warn- 
ing breaks  into  the  final  Presto  fortissimo  that  brings 
the  work  to  a  close. 

The  principal  theme  of  the  first  movement  is 
given  out  by  the  'cellos  as  quoted  at  a  :  — • 


g^tV^-f--^1=p-"J  I  r  r  r  I  f.  -r-r^^m 


>    r^r  ^  ^  I J^ 


-etc. 


Clarinet.        Flute-  Violin. 

4 


50 


THE  STANDARD  SYMPHONIES. 


The  second  subject  at  b  is  in  fine  contrast  with  the 
first,  and  is  thrown  about  from  instrument  to  instru- 
ment. The  episode  given  out  by  the  winds,  as 
mentioned  above,  is  indicated  at  ^  .•  — 


„  ■    Clar.  I  1 


ObA       j 


Flute. 

r 


I 


i 


i 


^ 


^ 


£ 


i 


:#c: 


Fagotti. 


etc. 


^^ 


^ 


^ 


Basses. 


pizz. 


Another  prominent  theme  starts  in  about  the  middle 
of  the  second  part,  as  at  d,  — 


Ohoe. 


rX.CiXr^  ^f^,^-flJT3 


J=:J= 


S 


'Cf//^. 


^jy^iia£tJ^#fj^7f^7^H74^ 


etc. 


followed  by  that  remarkable  passage  in  the  basses 
at  e.     The  melody  of  the  Adagio  we  give  aty  with 


mi.a  •'^75 


■^^^=p^^^f*^ 


etc. 


its  counterphrase  at  g.      The  main  theme  of  the 
Finale  is  a  subject  chosen  from  an  air  in  Beetho- 


THE  SYMPHONY  IN  B  FLAT.  51 

ven's  music  to  "  Prometheus,"  the  present  Finale 
adopting  the  bass  at  a  for  a  melody,  and  only 
bringing  in  the  original  melody  at  b,  at  the  third 
variation.  We  give  them  here  condensed,  one  above 
the  other :  — 


^ 


=^=z= 


2=-|         •>- 


i?^=t 


^ 


A — — >  -;  r 


J""     I    g""     I    g= 


etc. 


SYMPHONY  No.  4,  IN   B  FLAT.    Op.  60. 

1.  Adagio.    Allegro  vivace. 

2.  Adagio. 

3.  Menuette.    Allegro  vivace.    Trio,  un  poco  meno 

ALLEGRO. 

4.  Allegro  ma  non  troppo. 

The  Fourth  symphony,  as  the  original  manuscript 
shows,  was  written  in  1806,  and  dedicated  to  Count 
Obersdorf,  one  of  Beethoven's  Viennese  patrons. 
It  was  first  performed  at  a  subscription  concert  for 
the  composer's  benefit  in  the  spring  of  1807,  and 
was  subsequently  given  at  a  charitable  concert  on 
the  15th  of  November  of  the  same  year,  which 
may  be  called  its  first  public  performance.     It  lies 


52 


THE  STANDARD  SYMPHONIES. 


like  a  gleam  of  sunlight  between  the  heroic  Third 
and  majestic  Fifth.  Although  written  at  a  time  when 
Beethoven  was  harassed  by  intrigues  and  cabals 
growing  out  of  the  production  of  his  opera  "  Fide- 
lio,"  then  known  by  its  original  title  of  "  Leonore," 
it  is  the  happiest  and  most  serene  of  all  his  sym- 
phonies. With  the  exception  of  the  introduction, 
which  bears  traces  of  anxious  uncertainty,  if  not  of 
sadness,  there  is  scarcely  a  measure  in  the  work 
which  is  not  bright,  peaceful,  and  happy. 

The  symphony  begins  with  the  customary  slow 
introduction,  an  Adagio  in  \  time,  in  the  key  of 
B  flat,  which  opens  in  this  mysterious  manner  to  a 
long-held  B  flat  in  the  wind  instruments :  — 

Flute  _        _       


It  is  not  the  mystery  of  dreadful  adventure,  for 
the  tiptoeing  figure  in  the  seventh  and  eighth  meas- 
ures assures  us  that  there  is  roguery  abroad.  This 
tripping  around  in  the  dark  is  kept  up  through 
thirty-six  measures,  and  then  the  light  is  turned  upon 
the  masqueraders  suddenly  and  in  full  force  with  a 
seventh  chord  on  F  fortissimo,  which,  after  expos- 
ing the  entire  company  in  the  opening  measures 
of  the  Allegro  vivace,  hurries  them  on  at  an  accel- 
erated pace :  — 


f.ff.Mt.-^ 


'-^U^»^P^ 


^ 


-1i.-l>1a"r 


ff 


etc. 


THE  SYMPHONY  JN  B  FLAT. 


IZ 


While  the  violins  are  indulging  in  mysterious 
whisperings,  the  bassoon,  as  the  clown  of  the  com- 
pany, skips  around  as  nimbly  as  Figaro,  until  it  is 
silenced  by  a  crescendo  of  four  measures,  and  the 
rush  of  the  opening  of  the  Allegro  is  repeated.  A 
mocking  syncopated  phrase  now  occurs,  followed  by 
a  little  small  talk  between  the  bassoon,  oboes,  flutes, 
and  violins,  until  a  unison  figure  for  the  strings,  of 
a  peculiarly  buoyant  character  in  its  harmonic  design 
and  well  calculated  for  a  fine  crescendo  — 


Violin. 


3 


^ 


5^ 


ie: 


-etc. 


brings  us  to  a  little  canon,  — 

Clarinet. 


^  I    >    I    —  -*-         •    i    -♦- I    1      I 

Fagotto.  '  y    \  '  I     ' 


a  simple  enough  proceeding  for  Beethoven,  but  in 
its  very  simplicity  admirably  in  keeping  with  the 
general  character  of  the  music.  A  mysterious  tre- 
molo pianissimo  for  the  violins  is  followed  by  the 
boisterous  laugh  of  the  whole  company,  and  after 
repeating  this  little  by-play  a  syncopated  figure  in 
the  violins  forces  the  repetition  of  the  first  part. 
The  second  part,  though  dealing  essentially  with  the 
same  thematic  material,  is  exceedingly  rich  in  har- 
monic changes  and  transpositions,  to  follow  which 
would  lead  us  too  far ;  but  the  listener  should  note 
the  exquisitely  roguish  humor  that  pervades  a  phrase 


54 


THE  STANDARD  SYMPHONIES. 


in  which  the  kettle-drum  takes  part  individually  in 
the  general  fun.  This  part  also  contains  an  unac- 
companied, unbroken  scale,  started  by  the  first  vio- 
lins on  G  sharp  above  the  staff  and  carried  down 
into  the  basses  to  E  sharp  below  the  bass  staff, 
always  pianissimo,  breaking  into  an  upward  sweep 
tluough  a  diminished  seventh  chord  and  landing 
again  within  four  measures  on  a  high  D  in  the  flutes. 
This  freak  sets  the  kettle-drum  to  growling,  and 
while  it  keeps  up  its  rumbling  for  twenty-six  meas- 
ures the  scattered  forces  are  called  back  one  by 
one  until  they  unite  in  the  opening  theme  fortissimo. 
Thus  the  first  movement,  though  abounding  in  fine 
effects  and  wonderful  modulations,  flows  along  in 
an  unbroken  and  perfectly  spontaneous  manner, 
nowhere  showing  an  effort  of  serious  labor.^ 

The  Adagio  in  E  flat,  \  time,  is  less  liable  to  very 
widely  different  interpretation,  and  would  well  fit 
into  a  love  poem.  The  following  measure,  given 
out  by  the  second  violins,  — 

A  dagio. 


^ 


Violin. 


M 


1  In  the  fanciful  meanings  given  to  musical  phrases  we  have 
simply  reproduced  such  impressions  as  naturally  occur  from  the 
score.  In  doing  so  we  do  not  by  any  means  intend  to  convey  the 
idea  that  Beethoven  wrote  with  such  a  programme  in  his  mind.  In 
fact,  as  learned  a  critic  as  the  late  G.  A.  Macfarren  suggests  that 
this  music  is  essentially  a  love  poem,  but  prefaces  his  remark  with 
a  similar  reservation  :  "  that  music  bears  interpretation  as  various 
as  the  perceptions  and  the  sympathies  are  various  of  those  who 
hear  it." 


THE  SYMPHONY  IN  B  FLAT.  ^e 

is  used  by  the  composer  as  the  chief  and  character- 
istic design  for  his  accompaniment  throughout.  A 
lovely  air  — 

CantabiU. 


f 


i^j^^i-u^;;fh=ifj^ 


Fioiin  I. 


^ 


^^^^^j^g^^lfr  ^:^^i 


enters  at  the  second  measure,  marked  "  cantabile," 
sung  by  the  violins,  and  closes  in  its  eighth  measure 
on  the  fifth  of  the  chord,  producing  an  effect  of  vague- 
ness, "  as  if  its  loveliness  might  go  on  forever."  It  is 
then  repeated  by  the  wind  instruments,  to  which  is 
also  given  the  greater  part  of  the  second  phrase. 
In  its  workmanship  this  Adagio  is  remarkable  for 
what  the  Italians  call  "fioriture,"  but  in  this  case 
more  strictly  "decorative  accompaniment,"  which 
at  times  reminds  us  of  delicate  carving  and  at  others 
wreathes  itself  around  the  melody,  while  in  the  re- 
peat it  is  even  woven  into  the  melody  itself.  Just 
at  the  close  the  opening  motive  claims  its  right  for 
the  first  time  as  a  solo  for  the  ketde-drum,  the  use 
of  which  no  one  but  a  master  could  have  withstood 
the  temptation  to  employ  many  times  before. 

The  Minuet,  Allegro  vivace,  in  B  flat,  differs  in  its 
form  somewhat  from  any  of  Beethoven's  former 
third  movements,  inasmuch  as  it  is  divided  into  five 
sections  instead  of  three,  by  repeating  both  the 
Minuet  and  the  Trio  and  returning  again  to  the 
Minuet.     The   i»rincipal  motive  shows  what  care 


56 


THE  STANDARD  SYMPHONIES. 


Beethoven  bestowed  upon  these  movements.  The 
jostling,  pushing  effect  of  the  first  part  of  the  open- 
ing phrase,  offset  by  the  sweeping  legato  answer, 
which  sounds  like  a  kindly  remonstrance,  is  all  he 
needed  for  the  Minuet  proper, — 


m 


Tutti. 


^J=g^3=CT:F 


£ 


^ 


i 


^Ah 


Clarinet. 


r4T^=^ 


feg; 


::&it3t 


e^^ 


=N=§i 


Violin. 


Clarinet. 


but  how  wonderfully  these  means  are  employed 
when  we  come  to  look  at  their  distribution  as  far 
as  harmony  and  color  (that  is,  the  use  of  differ- 
ent instruments)  are  concerned  !  The  Trio,  un  poco 
meno  allegro,  consists  of  a  short  phrase  for  the 
wind  instruments,  interrupted  by  a  playful  remark  of 
the  violins  — 

Violin 


„  ,  Oboes. 


rk 


^E^^ 


Horns. 


^-r- 


:^ 


-etc. 


"f- 


repeated  on  three  ascending  steps,  with  a  short  trill 
toward  the  end  imparting  a  peculiar  elegance  to  the 
dainty  dialogue.  The  final  repeat  of  the  Minuet 
proper  winds  up  with  the  following, — 


Horns.    J        J 


3^ 


3^^^ 


4- ""  i 


^ 


-^ 


-etc. 


the  horns  putting,  as  Schumann  says,  "  one  more 
question,"  though  cut  short  by  the  last  fortissimo 
chord. 


THE  SYMPHONY  IN  B  FLAT. 


57 


The  last  movement,  Allegro  ma  non  troppo,  i 
again  in  the  key  of  B  flat,  \  time.     It  starts  off 
merrily  with  the  violins,  — 


etc. 


followed  by  a  figure  which,  considering  its  limited 
compass,  looks  as  if  it  had  stepped  out  of  a  Bach 
fugue.  Its  very  closeness,  however,  seems  to  check 
and  keep  the  merrymaking  within  bounds ;  only 
one  of  the  motives,  skipping  through  a  broken 
chord,  is  allowed  the  liberties  of  a  privileged  and 
noisy  couple ;  all  else  is  cheerful  and  happy  in  its 
nature.  The  close  is  as  playfully  dramatic  as 
Beethoven  ever  allowed  himself  to  be.  After  a 
general  call  to  order,  followed  by  a  pause  of  one 
measure,  the  first  violins,  somewhat  out  of  breath, 
make  their  adieux,  answered  by  the  bassoon  and 
finally  by  the  violas,  when  the  humor  of  the  thing 
gets  the  best  of  them  all,  and  they  rush  off  helter- 
skelter,  shouting  at  the  tops  of  their  voices  :  — 


Violin. 


^ 


Fagotto.         Violas. 


mi 


^yT^:^^^^^!f^ip\^^ 


gS  THE  STANDARD  SYMPHONIES. 

SYMPHONY  No.  5,  IN  C  MINOR.     Op-  67. 

1.  Allegro  con  brio.     3.  Allegro  (Scherzo). 

2.  Andante  con  moto.    4.  Allegro.   Presto. 

The  Fifth  symphony  was  finished  in  1808,  al- 
though its  composition  had  occupied  Beethoven's 
attention  for  many  years  before.  The  first  two 
movements  were  written  in  1805,  and  sketches  for 
them  have  been  found  as  early  as  1800.  At  its 
first  performance,  at  Vienna,  Dec.  22,  1808,  it  was 
numbered  on  the  programme  as  the  Sixth ;  and  the 
latter,  the  Pastoral,  appeared  as  the  Fifth.  Both 
were  finished  in  the  same  year,  but  the  priority  of 
the  C  minor  is  clearly  established  by  Beethoven's 
own  numbering  in  the  autograph.  Like  the  Sixth, 
it  is  dedicated  to  Prince  Lobkowitz  and  Count 
Rasoumowsky,  noble  patrons  of  music,  whose 
names  are  thus  consigned  to  immortality. 

The  C  minor  symphony  is  probably  the  best 
known  and  most  admired  of  the  nine,  perhaps  be- 
cause it  is  the  most  human  in  its  qualities.  Beet- 
hoven himself  has  left  us  a  clew  to  its  meaning, 
and  with  that  clew  nearly  all  critics  have  arrived  at 
substantially  the  same  decision,  —  namely,  that  it 
pictures  the  struggle  of  the  individual  with  Fate,  the 
alternations  of  hope  and  despair,  and  the  final 
triumph,  in  contradistinction,  for  instance,  with  the 
motives  of  the  ninth  symphony,  where  the  same 
struggle  is  fought,  only  upon  the  broader  field 
of  the  world  ;  where  the  triumph  is  the  same,  only 
it  is  the  triumph    of  the    universal    brotherhood. 


THE  SYMPHONY  IN  C  MINOR.  59 

In  speaking  of  the  first  four  notes  of  the  opening 
movement,  Beethoven  said,  sometime  after  he  had 
finished  the  symphony  :  "  So  pocht  das  Schicksal 
an  die  Pforte  "  ("  Thus  Fate  knocks  at  the  door  ")  ; 
and  between  that  opening  knock  and  the  tremen- 
dous rush  and  sweep  of  the  Finale,  the  emotions 
which  come  into  play  in  the  great  conflicts  of  life 
are  depicted. 

Berlioz  says  of  this  symphony  :  — 

"  The  symphony  in  C  minor  appears  to  me  to  be 
the  direct  and  unmixed  product  of  the  genius  of  its 
author,  the  development  of  his  most  individual  mind. 
His  secret  sorrows,  his  fits  of  rage  or  depression,  his 
visions  by  night,  and  his  dreams  of  enthusiasm  by 
day,  form  the  subjects  of  the  work;  while  the  forms 
of  both  melody  and  harmony,  of  rhythm  and  instru- 
mentation, are  as  essentially  new  and  original  as  they 
are  powerful  and  noble." 

Mendelssohn  in  one  of  his  letters  relates  an 
incident  connected  with  a  visit  to  Goethe  :  — 

"He  (Goethe)  did  not  wish  to  hear  anything  of  Beet- 
hoven, but  I  told  him  that  I  would  not  let  him  off,  and 
played  the  first  part  of  the  C  minor  symphony.  It 
seemed  to  have  a  singular  effect  upon  him.  At  first 
he  said  :  'This  causes  no  emotion,  nothing  but  aston- 
ishment. It  is  grandiose.'  He  continued  grumbling 
in  this  way,  and  after  a  long  pause  began  again  :  'It  is 
very  grand,  wildly  mad ;  it  makes  one  fear  that  the 
house  is  about  to  fall  down ;  and  what  must  it  be 
when  played  by  all  in  concert?'" 

In  the  Fifth,  as  in  the  Third,  symphony  wc  find 
that    concentration    of   thought    and    labor  which 


6o 


THE  STANDARD  SYMPHONIES. 


makes  these  two  musical  poems  so  all-powerful ' 
and  overwhelming  in  their  effect.  It  is  not  marked 
by  a  spontaneous  flow  of  musical  phrases  lightly 
strung  together,  or  by  mere  toying  with  musical 
forms ;  but  each  motive  represents  a  concentrated 
essence  of  thought  which,  once  heard,  makes  an 
indelible  impression,  and  apparently  admits  of  no 
change.  His  sketch-book  shows  what  infinite  labor 
Beethoven  bestowed  upon  the  modelling  of  these 
unique  themes  before  he  adopted  the  forms  in 
which  they  are  used  in  the  symphony.  Once  they 
had  left  the  master's  hand,  however,  they  were  no 
longer  fancies,  but  facts  ;  and  it  took  little  more  than 
the  musical  Vulcan  at  his  smithy  to  drive  these  facts 
home  until  the  merest  tyro  should  feel  their  weight. 
We  give  only  a  few  quotations,  but  bearing  them 
in  mind,  the  listener  will  be  able  to  follow  the 
development  of  this  passionate  outpouring  of  a 
passionate  mind  while  brooding  over  its  fate :  — 

A  llegro  con  brio. 


^ 


^S3S333 


Horns,     e 


Violin, 


d 


MJ^i^'iOiir'fi^ 


Wff- 


m^, 


ff 


h^ 


sf      .»/    -a-  ^-zr      -zr 


.F 


f=gi 


#■ 


m 


iiii 


?* 


J  jAj 


etc. 


f=iv=f 


IVind  Inst. 


Strings. 


irind. 


Strings.         etc. 


THE  SYMPHONY  IN  C  MINOR. 


6i 


The  holds  at  a  occur  frequently,  as  well  as  the 
abrupt  chords  leading  up  to  a  pause.  The  per- 
sistency with  which  the  theme  at  d  is  repeated  and 
carried  upward  in  a  steady  crescendo,  only  to  vent 
its  rage  in  those  terrible  three  notes,  dropping  into 
a  third  below  and  cut  short  by  two  abrupt  chords, 
well  depicts  the  persistent  struggle  of  a  great  mind 
with  the  misfortunes  of  life.  After  the  statement 
of  inexorable  fate  by  the  horns  at  c,  it  almost  seems 
as  if  the  proud  mortal  were  pleading  his  case  and 
appealing  for  mercy ;  but  the  pitiless  cry  at  the 
five-fold  repetition  of  the  four  notes  at  ^/  grows 
unendurable,  and  stung  to  the  quick  he  hurls  his 
defiance  against  the  gods.  A  period  of  exhaustion 
characterizes  a  passage  in  which  the  winds  alternate 
during  thirty-two  measures  with  the  strings,  in  short 
chords  ever  drooping  until  roused  again  to  life  and 
strife  by  the  motive  at  c,  given  in  unison  by  the 
whole  orchestra.  The  last  motive,  at  /,  may  sim- 
ply be  described  as  a  hammer  and  anvil,  and  no 
one  who  hears  it  can  mistake  our  meaning. 

Of  the  Andante  con  moto,  in  A  flat,  |  time,  we 
quote  only  the  principal  phrases :  — 


ptzz.  I 


ffd 


62     THE  STANDARD   SYMPHONIES. 

The  opening  is  given  out  by  the  violas  and  'cellos, 
while  the  phrase  at  b  is  always  started  by  the  winds, 
breaking  into  a  sudden  fortissimo  at  d  and  enriched 
at  every  repeat  by  a  more  animated  figure  in  the 
violins.  The  first  phrase  breathes  sweet  consola- 
tion, while  the  second  points  onward  and  upward, 
promising  peace  and  happiness  to  the  anxious 
heart,  with  a  bold  transition  at  d  assuring  the 
sufferer  of  glorious  triumph  and  happiness.  The 
measures  preceding  this  outburst  produce  a  thrill- 
ing effect  by  the  use  of  the  ominous  ninth  below 
the  melody,  which  in  the  second  violins  and  violas 
raises  the  ghost  of  the  Fate  motive  of  the  first  part 
with  its  three  strokes  indicated  at  c.  The  many 
other  beauties  of  this  movement  will  not  escape 
the  attentive  listener.  Doubt,  consolation,  reassur- 
ance, and  trustful  hope  in  Love,  the  loadstone  of 
human  life,  are  the  salient  though  continually 
changing  emotions  of  the  entire  Andante. 

The  Scherzo,  Allegro,  in  C  minor,  starts  out  with 
a  timid  question,  — 

poco  ritard- 


/T\ 


but  in  the  answer  it  seems  as  if  the  youthful  hero 
had  grappled  with  the  decrees  of  Fate  and  boldly 
turned  the  point  of  the  weapon  against  his  foe. 
The  three  strokes  of  the  first  movement  which 
started  on  an  up  beat  i  J  J  J  |  J  |  are  now  de- 
fiantly turned  into   |  •  *  *  |  f '  |  ,  and  boldly  carry 


THE  SYMPHONY  IN  C  MINOR. 


63 


the  day.  The  second  part  of  .the  Scherzo,  in  the 
key  of  C  major,  which  represents  the  Trio,  opens 
with  a  strong  and  boisterous  passage  for  the  'cellos 
and  basses,  gradually  reinforced  by  the  violins,  and 
carried  to  a  joyful  climax,  from  which  a  gradual 
decrescendo  leads  back  into  the  first  part. 

After  the  hold  the  now  victorious  triple  beat 
starts  pianissimo  in  the  clarinets  and  changes  from 
instrument  to  instrument,  but  always  pianissimo,  as 
if  intended  to  repress  thoroughly  any  premature  ex- 
ultation. The  kettle-drum  finally  takes  up  the  beat, 
and  for  forty-eight  measures  persistently  furnishes 
the  rhythm.  The  violins  take  courage  and  begin 
an  upward  sweep,  always  pianissimo  and  in  ever 
widening  intervals,  until  it  reaches  the  dominant 
seventh  chord,  when  the  footing  for  a  triumphant 
onslaught  seems  secured,  and  with  a  short  crescendo 
we  rush  into  the  jubilant  march  of  the  last  Allegro, 
in  the  key  of  C  major,  common  time  :  — 

Allegro. 


m 


=^^Tt 


i 


3c==t: 


a-  tkiM 


-it  -i 


H 


f 


"^^^sfU-hr&Jll^M. 


This  is  joy  unbounded,  not  without  manly  dig- 
nity in  the  first  four  measures,  but  soon  giving  way 
to  an  abandon  of  exultation.  The  upward  sweep 
from  the  sixth  measure,  ending  twice  on  the  octave, 
is  in  its  third  repetition  carried  a  third  higher, 
as  if  breaking  all  bounds,  and  naturally  flows  into 


64 


THE  STANDARD  SYMPHONIES. 


a  dotted  rhythmic  figure  which  only  increases  the 
excitement.  The  tender  element,  the  loving  figure, 
be  it  woman  or  angel,  that  breathed  its  consolation 
in  the  second  movement  is  recognized  in  the  fol- 
lowing short  episode, — 


# 


E^ 


f 


3 


J» 


-3t-Tt- 

T  I 


^ 


-etc. 


but  is  soon  drawn  into  the  general  hymn  of  joy. 
After  a  perfect  whirl  on  the  dominant  chord  of  G 
for  twenty  measures,  the  violins  having  a  tarantelle- 
like  figure  in  triplets,  the  movement  is  suddenly 
interrupted  by  an  episode  of  fifty-four  measures  in 
triple  time,  recalling  the  Scherzo  in  its  rhythm, 
but  in  reality  only  a  prolongation  of  the  dominant 
chord,  which  was  cut  short  at  its  climax  so  as  to 
make  a  more  deliberate  change  at  the  repetition  of 
the  grand  march  of  joy.  In  conclusion,  we  quote 
only  the  principal  phrase  of  the  middle  section  of 
this  movement :  — 


if:>±  .  ttti 


Oboes.  ^  ♦      .^ 


=t=fq 


Fagotti.  I 


THE  SYMPHONY  IN  F.  65 


SYMPHONY  No.  6,  IN  F  (PASTOEAL).    Op.  68. 

1.  Allegro  ma  non-  troppo.    (The  cheerful  Impressions  ex- 

cited on  arriving  in  the  Country.) 

2.  Andante  molto  moto.     (By  the  Brook.) 

3.  Allegro.     (Peasants'  Merrj-making). 

4.  Allegro.     (Thunder-storm.) 

5.  Allegretto.     (The  Shepherd's  Song  ;   glad  and  thankful 

Feelings  after  the  Storm.) 

The  Pastoral  symphony  was  composed  by  Beet- 
hoven in  the  meadows  near  Heiligenstadt  in  1S08, 
and  was  first  performed  at  a  concert  given  in  Vienna, 
December  22  of  the  same  year.  No  doubt  can 
attach  to  the  meaning  of  this  symphony,  as  the  com- 
poser has  left  his  own  explanation  prefixed  to  each 
movement.  It  is  absolute  programme-music,  and 
yet  both  in  the  sketches  as  well  as  in  the  autograph 
of  the  completed  work  a  caution  is  conveyed  to  the 
effect  that  it  is  not  an  actual  representation  of  the 
rural  scenes  that  form  the  motive  of  the  work.  In 
the  sketches  it  is  entitled  "  Sinfonie  caracteristica. 
Die  Erinnerungen  von  der  Landleben  "  ("  Symphony 
Characteristic.  Memories  of  Country  Life  "),  and 
the  following  note  is  appended  :  "  Man  iiberlasst 
dem  Zuhorer  sich  selbst  die  Situationen  auszu- 
finden"  ("The  hearer  must  find  out  the  situations 
for  himself  ").  When  the  symphony  was  completed, 
however,  Beethoven  changed  his  intentions,  and  in 
the  programme  of  its  first  performance,  as  well  as 
in  the  printed  score,  gave  explicit  descriptions  of 
tlie  meaning  of  each  movement,  prefaced,  however, 

5 


66  THE  STANDARD  SYMPHONIES. 

with  the  significant  caution :  "  Mehr  Ausdruck  der 
Empfindung  als  Malerei"  ("Rather  expressive  of 
sensations  than  painting,  or  actual  description "). 
Schindler,  his  biographer,  also  relates  an  interest- 
ing incident  connected  with  the  second  movement 
which  occurred  during  a  walk  he  took  with  Beetho- 
ven on  a  bright  day  in  April,  1823.     He  says  :  — 

"  After  visiting  the  bath-house  at  Heiligenstadt,  and 
the  adjoining  garden,  and  talking  over  many  a  pleasant 
reminiscence  having  reference  to  his  creations,  we 
continued  our  ramble  toward  the  Kahlenberg  in  the 
direction  of  Grinzing.  Strolling  through  the  de- 
lightful meadow  valley  between  Heiligenstadt  and 
the  latter  village,  which  was  crossed  by  a  swiftly  flow- 
ing and  softly  murmuring  brook  from  a  neighboring 
mountain,  Beethoven  stopped  repeatedly  and  let  his 
look,  full  of  blissful  feeling,  wander  over  the  beautiful 
landscape.  Then  seating  himself  upon  the  grass,  and 
leaning  against  an  elm,  he  asked  me  whether  there 
was  no  yellow-hammer  to  be  heard  in  the  tops  of  those 
trees.  But  it  was  all  still.  Thereupon  he  said : 
'  Here  I  wrote  the  "  Scene  at  the  Brook  ;  "  and  the 
yellow-hammers  up  there,  and  the  quails,  and  night- 
ingales, and  cuckoos  round  about  composed  with 
me.' " 

This  symphony,  in  fact,  reveals  Beethoven  as  the 
lyric  poet.  It  is  by  no  means  the  sentimental 
strain  of  the  conventional  spring  poet,  but  the  mas- 
terly expression  of  that  happy  and  contented  feeling 
which  the  lover  of  Nature  experiences  during  a 
ramble  through  a  lovely  country.  The  motives  em- 
ployed  are   apparently  of  the   simplest  kind,  but 


THE  SYMPHONY  IN  F. 


67 


demonstrate  the  evolution  of  intense  thought.  They 
cannot  be  altered  by  a  note  without  the  sacrifice  of 
their  meaning.  They  are  short  and  close  in  design, 
and  to  a  great  extent  lean  on  the  tones  of  the  hunt- 
ing horn.  Their  force  rather  lies  in  the  fact  that  by 
their  continuous  repetition  they  produce  that  train 
of  thought  in  the  hearer  which  causes  him  to  recog- 
nize the  music  at  once  as  pastoral.  We  quote  a 
few  of  the  motives  that  will  attract  the  hearer's 
attention  :  — 


etc. 


The  first  movement,  of  which  the  above  are  the 
themes,  is  an  Allegro  ma  non  troppo  in  F  major, 
I  time,  and  is  in  keeping  with  the  general  descrip- 
tion we  have  made  of  the  music. 

The  Andante  molto  moto  in  B  flat,  ^i  time,  gives 
vorce  to  the  listless  dreaming  of  the  wayfarer  who 
is  resting  at  the  banks  of  the  brook.  The  monoto- 
nous accompaniment,  sustained  through  nearly  the 
entire  movement  by  the  strings,  is  of  a  flowing 
figure,  containing  a  gentle  rise  and  return  to  its 
level.  The  first  violins  give  out  the  principal  melo- 
dic theme,  while  the  wind  instruments  respond  with 
the  second  phrase.     Short  figures   abound,  flitting 


68  THE  STANDARD  SYMPHONIES. 

about  among  the  different  instruments,  sometimes 
in  imitation,  again  in  euphonious  thirds  or  sixths, 
and  at  times  a  brief  trill  or  the  short  snapping  of 
pizzicato  notes.  Its  effect  is  that  of  the  evening 
air  alive  with  songs  of  birds  and  the  buzz  of  insects. 
In  the  last  twelve  measures  of  this  movement,  the 
composer  even  introduces  the  bird-songs,  —  a  pro- 
ceeding which  has  been  pronounced  childish  and 
utterly  unworthy  of  Beethoven,  but  which  to  the 
unprejudiced  listener  seems  to  belong  in  its  connec- 
tion. When  we  consider  that  its  use  by  Beethoven 
cannot  possibly  have  sprung  from  a  desire  to  write 
catchpenny  claptrap,  it  would  perhaps  be  well  to 
accept  the  intention  of  the  composer. 

The  third  movement,  Allegro,  in  F  major,  4  time, 
representing  the  Minuet,  introduces  the  purely  hu- 
man element.  The  first  eight  measures  usher  in 
the  good  country  people  tripping  briskly  along. 
But  what  a  woful  failure  the  clumsy  peasants  make 
at  the  end  of  the  phrase,  with  their  attempt  at 
gracefulness,  — 


p^^^^E^^^^^^F^f^ 


and  how  they  stumble  over  their  wooden  shoes  at 
those  three  lower  A's  indicated  by  the  asterisk  !  In 
the  next  phrase,  however,  the  fair  damsels  carry  their 
part  of  the  programme  quite  gracefully.  Then  we 
strike  the  dance  proper  with  its  "  band  accompani- 
ment." The  whole  movement  shows  how  perfectly, 
as  the  Merry-Andrew  has  it  in  the  prelude  to 
"  Faust,"  Beethoven  could  "  grasp  the  exhaustless  life 


THE  SYMPHONY  IN  F.  69 

that  all  men  live,"  not  disdaining  even  to  include  the 
pleasures  of  the  lowly  peasantry  in  his  inimitable 
tone-picture.  The  minuet-like  movement  is  inter- 
rupted by  a  short  Tempo  d'allegro,  \,  which  seems 
like  the  change  to  another  dance,  though  being 
rather  more  boisterous  it  comes  to  a  close  by  two 
short  pauses  as  if  to  give  the  dancers  a  chance  to 
catch  their  breaths  before  returning  to  the  triple 
time  of  the  Minuet  closing  the  movement. 

The  next  movement,  an  Allegro  in  A  flat,  is  en- 
titled "  Thunder-storm  "  and  brings  before  us  the 
lowering  sky,  the  distant  rumbling  of  thunder,  the 
sultry  air,  and  the  cumulus  clouds  as  they  rise 
higher  and  higher  above  the  horizon  until  we  are 
almost  in  darkness,  and  the  storm  breaks  forth  in  all 
its  fury.  It  soon  passes  over,  however,  the  clouds 
break,  and  sunshine  illuminates  the  refreshed  land- 
scape. Without  interruption  the  closing  measure 
leads  into  the  last  movement,  —  the  shepherd's  song 
of  joy,  and  his  feeling  of  relief  from  the  dangers  of 
the  tempest.  The  motives  are  formed  from  the  rep- 
resentative intervals  of  the  instruments  chiefly  used 
by  shepherds,  and  move  in  the  steps  of  the  chord 
rather  than  in  the  successive  notes  of  the  scale, 
although  the  middle  section  of  the  movement  brings 
the  violins  to  the  front  with  just  such  runs  as  were 
excluded  from  the  first  part,  which  more  strictly 
represent  the  song  of  the  shepherd.  The  move- 
ment closes  with  one  of  those  dynamic  contrasts  in 
which  Beethoven  delighted.  After  the  horn  once 
more  sings  the  principal  theme, — 


70  THE  STANDARD  SYMPHONIES. 

Horn.     Con  sordino. 


%k 


iS 


^-p: 


softly,  con  sordino,  and  while  the  violins  are  twin- 
ing around  it  in  a  descending  figure,  the  whole 
orchestra  breaks  in  suddenly  and  without  any  prepa- 
ration on  the  closing  chord  fortissimo,  as  indicated 
above. 


SYMPHONY  No.  7,  IN  A  MAJOR.    Op.  92. 

i.  poco  sostenuto.    vivace. 

2.  Allegretto, 

3.  Presto.    Presto  mend  assai. 

4.  Finale.     Allegro  con  brio. 

The  Seventh  symphony,  which  vies  in  popularity 
with  the  Fifth,  was  finished  in  the  year  181 2,  and 
was  first  performed  Dec.  8,  1813,  at  a  concert  in 
Vienna  for  the  benefit  of  the  Austrian  and  Bava- 
rian soldiers  wounded  at  the  battle  of  Hanau.  The 
now  little  regarded  Battle  symphony  by  Beethoven 
was  included  in  the  same  programme.  The  con- 
cert was  a  notable  one,  not  only  because  the  Seventh 
symphony  was  given  for  the  first  time,  but  for  the 
large  number  of  eminent  musicians  and  composers 
who  played  in  the  orchestra,  among  them  Spohr, 
Mayseder,  Dragonetti,  Hummel,  Salieri,  Moscheles, 
Schindler,  Romberg,  and  Meyerbeer.  The  sym- 
phony was  also  played  Nov.  29,  18 14,  before  the 
allied  sovereigns  at  the  meeting  of  the  Congress  of 
Vienna,  and  made  a  great  impression.     There  were 


THE  SYMPHONY  IN  A   MAJOR.  71 

not  wanting  many  hostile  critics,  however,  among 
them  Karl  Maria  von  Weber,  who  went  so  far  as  to 
declare  that  "  the  extravagances  of  his  genius  had 
reached  the  ne plus  ultra,  and  that  Beethoven  was 
now  quite  ripe  for  the  mad-house."  It  did  not 
prevent  him,  however,  when  his  own  opera  "  Eury- 
anthe  "  was  poorly  received,  from  taking  it  to  Beet- 
hoven and  asking  him  to  revise  it. 

Of  all  the  Beethoven  symphonies,  the  Seventh  is 
the  most  romantic,  as  well  as  the  most  happy.  The 
composer  left  no  clew  to  its  meaning,  though  we 
know  from  his  letters  that  he  esteemed  it  as  one  of 
his  best  works.  Modern  critics,  however,  have 
busied  themselves  trying  to  interpret  the  story  it 
tells.  Berlioz  and  Ambros  call  it  a  rustic  wedding ; 
Marx,  Moorish  knighthood  ;  Oulibicheff,  a  masked 
ball ;  and  Bischoff,  a  sequel  to  the  Pastoral  sym- 
phony. Richard  Wagner,  with  his  keen  insight  into 
the  subjectivity  of  music,  declares  that  it  is  the  apo- 
theosis of  the  dance,  the  ideal  embodiment  in  tones 
of  the  bodily  movement,  —  a  definition  which  ad- 
mirably applies  to  the  symphony,  as  nearly  all  its 
motives  are  ideally  perfect  dance  rhythms. 

The  introduction,  a  Poco  sostenuto  in  the  key  of 
A  major,  is  almost  a  movement  in  itself,  and  con- 
tains one  of  the  happiest  and  most  delicate  phrases 
to  be  found  anywhere  in  Beethoven's  music,  as 
follows  :  — 


72 


THE  STANDARD  SYMPHONIES. 


This  episode  occurs  twice,  preceded  and  followed 
by  ascending  scales  running  through  two  octaves, 
which  are  significant  for  the  very  staccato  manner  in 
which  they  are  given.  The  last  part  of  the  above  quo- 
tation, occurring  as  it  does  in  the  repeat  on  the  chord 
of  F  major,  is  reiterated  during  a  short  crescendo,  and 
suddenly  resolves  into  the  note  E,  given  out  by  all 
the  instruments  fortissimo  and  repeated  during  the 
remaining  ten  measures  of  the  introduction  and  the 
first  four  bars  of  the  following  Vivace,  in  various 
rhythms.  At  the  entrance  of  the  new  movement 
it  has  the  dotted  rhythm  of  the  quail-call,  which  is 
the  predominating  feature  of  the  whole  movement : 

I     4  times.      I 


In  these  quotations  the  musician  will  be  able  to 
detect  the  germ  in  one  form  or  another  of  nearly 
every  measure  of  the  first  movement.  The  skipping 
rhythm  and  the  melodic  structure,  not  only  as  a 
whole  but  also  in  the  smaller  sections,  are  so  preg- 
nant that  they  are  sufficient  for  the  magician  who 
in  the  working  out  brings  all  his  art  and  devices 
into  play.  The  opening  suggests  the  dancing  along 
of  a  bevy  of  happy  girls,  but  when  Beethoven  feels 
in  that  mood  it  is  impossible  to  trace  him  step  by 
step.     The  giggling  of  the  girls,  the  boisterous  fun 


THE  SYMPHONY  IN  A  MAJOR.  73 

of  the  boys,  the  Homeric  laughter  of  the  elders,  an 
attempt  at  dignity  followed  by  a  reckless  plunge 
into  hilarity,  sudden  pianissimos  followed  by  fortis- 
simos,  harmonic  changes  for  which  there  is  no  time 
to  prepare  in  the  general  rush,  now  a  coaxingly  gen- 
tle phrase,  now  a  war  of  words  short  but  emphatic, 
—  these  are  the  characteristics  of  the  first  part. 
The  ill-tempered  outbreak  at  the  end  of  this  part  is 
repeated  at  the  beginning  of  the  second,  only  the 
flutes  scream  a  third  higher  than  before  ;  then  a 
pause,  and  the  violins  move  off  again  pianissimo 
J.  "J  ,  4-'%  i  ,  while  the  basses  come  in  with  a  long 
scale  in  the  same  rhythm,  as  if  they  were  ashamed 
of  having  been  led  into  loud  words  and  were  now 
trying  to  re-establish  good  feeling.  The  Coda  con- 
tains one  of  those  phrases  which  by  their  monoto- 
nous repeats  partake  somewhat  of  the  nature  of  a 
pedal  point ;  and  on  the  other  hand  remind  us 
of  the  peculiarity  of  Slavonic  music,  in  which  this 
everlasting  and  monotonous  repeat  of  one  figure 
plays  so  characteristic  a  part.  The  basses  support 
a  steady  crescendo  from  pianissimo  to  fortissimo 
during  twenty-two  measures  with  this  figure  :  — 


The  Allegretto,  which  takes  the  place  of  the 
slow  movement,  is  in  A  minor,  \  time,  and  is  built 
up  on  the  following  rhythmic  figure  :  I  J  J^  1  J  J  I  • 
The  melody  of  the  first  part  moves  within  the  in- 
terval of  a  third,  and  is  of  the  simplest  construc- 
tion.    The  movement  itself  is  constructed  on  a  long 


74 


THE  STANDARD  SYMPHONIES. 


crescendo  as  gradual  as  it  is  persistent,  and  irre- 
sistible in  its  natural  strength.  Tlie  production  of 
such  colossal  effects  by  such  simple  means  is  one 
of  the  glories  of  Beethoven's  genius.  The  second 
part,  in  A  major,  opens  with  this  lovely  melody,  — 

Claritiet. 


y=^^T^=f1?=g^3?3]f7rrrrg 


accompanied  in  triplets  by  the  violins,  with  the 
steady  dactylus  |  J  J^  |  as  a  support  in  the  basses. 
A  short  interlude  of  staccato  scales  brings  us  back 
to  the  first  theme,  which  is  now  worked  up  in  the 
accompaniment  in  the  style  of  a  variation.  Then 
the  A  major  episode  is  repeated.  The  Coda,  in  A 
minor,  after  a  few  sudden  dynamic  transitions,  falls 
back  on  the  original  theme  and  dies  away  in  a 
pianissimo,  in  the  last  six  measures,  however,  rising 
phcenix-like  in  this  most  original  manner  :  — 


lSi^:S= 


The  Scherzo,  marked  "  Presto,"  in  F  major, 
opens  with  the  simple  device  of  moving  through  the 
intervals  of  the  chord  of  F,  but  stamped  by  the 
master's  hand  with  the  form  at  a,  — 

)1  b 


^ 


->^ 


/ 


Tf"^^Trr=fT^^ 


etc. 


THE  SYMPHONY  IN  A   MAJOR. 


75 


f 


L^^* 


^- 


followed  by  a  descending  scale  motive,  b.  The 
third  motive,  growing  out  of  c,  furnishes  by  the  repe- 
tition of  the  half-steps  (*)  the  principal  material 
for  the  middle  section  of  the  second  part.  The 
last  four  measures  of  the  Presto  dwell  on  a  pro- 
longed A  held  by  all  the  instruments,  and  ringing  in 
some  part  of  the  orchestra  throughout  the  whole 
Trio,  which  changes  into  the  key  of  D  major, 
Assai  meno  presto.  This  A,  suspended  in  mid- 
air as  it  were,  with  only  an  occasional  pulsation 
into  the  G  sharp  below,  sheds  an  air  of  serenity  over 
the  whole  which  greatly  enhances  the  restfulness  of 
the  melodic  theme  :  — 


The  second  part  contains  a  most  peculiar  effect 
for  the  second  horn,  which  on  a  low  A  and  G  sharp 
in  different  rhythms  for  twenty-six  measures  leads 
to  a  fortissimo  repeat  of  the  main  theme,  the  trum- 
pets ringing  out  the  sustained  A,  supported  by  the 
kettle-drums,  —  a  phrase  which  is  almost  without 
parallel  for  the  expression  of  exalted,  noble,  and 
serene  sentiment.  An  interlude,  piano  and  diminu- 
endo, changing  between  the  chords  of  D  and  A, 
with  a  sudden  drop  into  the  seventh  chord  on  C, 
leads  back  to  the  Presto.  The  Trio  is  then  played 
again,  followed  by  another  repeat  of  the  Presto  and 


76 


THE  STANDARD  SYMPHONIES. 


a  short  Coda,  reminding  one  of  the  Scherzo  in  the 
Fourth  symphony. 

The  last  movement,  Allegro  con  brio,  in  A  major, 
4  time,  takes  up  the  joyous  strain  of  the  first  move- 
ment and  opens  with  the  following  whirling  figure 
in  the  violins  :  — 


which  is  supplemented  by 


Si 


r^^SXJ^XJ^ 


J 


^^^!^ 


accompanied  by  full  short  strokes  of  the  string  in- 
struments. The  following  two  motives  complete  the 
material  for  this  movement :  — 


W     f   M~  f^  /.S~/etc. 

The  hghtness  and  grace  of  the  theme  at  a  and 
the  dance-like  rhythm  at  d,  with  the  mazurka  ac- 
centuation of  the  second  quarter,  the  use  of  dotted 
groups  in  the  connecting  phrases,  the  almost  martial 
tread  produced  by  the  frequent  employment  of  full 
chords,  abruptly  and  forcibly  marking  the  beats,  the 
frequent  changes  of  key,  etc.,  —  all  these  factors 
impart  to  the  movement  an  exuberant  spirit  which 
stamps  it  and  the  whole  symphony  as  one  of  the 
most  complete  expressions  of  whole-souled  enjoy- 
ment of  life  our  musical  literature  contains. 


THE  SYMPHONY  IN  F.  77 


SYMPHONY  No.  8,  IN  F.    Op.  93. 

1.  Allegro  vivace  e  con  brio. 

2.  Allegretto  scherzando. 

3.  Mexuetto  e  trio. 

4.  Finale.    Allegro  vivace. 

The  Eighth  symphony  was  written  in  18 12  at 
Linz,  whither  Beethoven  had  repaired  upon  the 
advice  of  his  physician  for  the  benefit  of  his  health. 
It  was  composed  at  a  sad  period  of  his  hfe,  for 
besides  his  sufferings  from  shattered  health  he  was 
engaged  in  a  most  unpleasant  law-suit  forced  upon 
him  by  his  unworthy  sister-in-law  and  undertaken 
in  the  interest  of  a  graceless  nephew.  Notwith- 
standing these  depressing  events  the  symphony  is 
one  of  the  brightest,  most  cheerful,  and  most  hu- 
morous works  that  he  ever  conceived.  He  speaks 
of  it  himself  in  a  letter  to  Salomon  as  the  "  Kleine 
Symphonic  in  F,"  not  that  it  was  little,  but  to  dis- 
tinguish it  from  the  "  Grosse  Symphonic  in  A  " 
(the  Seventh),  composed  in  the  same  year.  As  a 
separate  movement  it  is  doubtful  whether  any  one 
that  he  ever  wrote  is  as  popular  as  the  Allegretto  of 
the  Eighth.  The  melody  which  forms  its  principal 
motive  was  extemporized  by  Beethoven  as  a  short 
vocal  canon  at  a  farewell  supper  given  to  Malzel, 
the  inventor  of  the  metronome,  in  the  spring  of 
18 1 2,  and  set  to  the  words,  "Ta,  ta,  ta,  lieber  Mal- 
zel, lebewohl,  lebewohl  "  ("  Ta,  ta,  dear  Malzel, 
farewell ").  It  has  also  been  claimed  that  the 
melody  in  its  style  as  utilized  in  the  symphony  is 


78 


THE  STANDARD  SYMPHONIES. 


a  parody  upon  Rossini's  music,  though  there  is  the 
best  of  evidence  that  Beethoven  had  never  heard  any 
of  Rossini's  operas  when  this  symphony  was  written. 
We  know  from  Beethoven's  sketch-book  that  this 
symphony  had  occupied  his  mind  for  a  long  time, 
but  its  actual  production  must  have  been  the  spon- 
taneous expression  of  a  very  happy  mood  of  the 
composer,  when  he  felt  inclined  to  banter  jokes  and 
give  free  play  to  that  humor  which,  as  we  know  by 
his  letters,  occasionally  seized  him  in  spite  of  his 
great  and  growing  misfortune.  As  if  serious  prepa- 
ration were  unnecessary  he  plunges  at  once  into 
the  work  and  opens  the  first  Allegro  vivace  con 
brio,  in  F  major,  with  the  main  theme  :  — 


m 


£=#fe 


*6 


m 


TOt. 


w=^ 


-etc.— 


An  intermediate  phrase,  closing  with 

h        M.  M.  ah 


g^ 


r]  r  ^  1  =pi  r  1^  1  --Ss^^^jp. 


V^ 


leads  into  the  second  theme,  — 


W 


which  containing  a  short  ritardando,  is  then  repeated 
by  the  wind  instruments,  and  after  a  series  of  modu- 
lations runs  into  this  motive  for  the  full  orchestra : 


^ 


f 


■^UUU 


I"       —etc' 


The  first   part   closes  with  the  following  skipping 
figure,  — 


f 


THE  SYMPHONY  IN  F. 


79 


£ 


L  I  r  "L-L. 


:p=^ 


£ 


± 


which  is  in  reality  only  an  extension  into  the  octave 
of  the  motive  at  b.  The  latter  is  frequently  util- 
ized during  the  second  part  in  connection  with 
■P  ^  ;'~"  ^  ,  ^1^1 — I  the  motive  from  the  open- 
^  '  I  I  I  r  '  ing  phrase,  which  is  em- 
ployed with  all  the  art  of  the  contrapuntist  either 
in  imitations  or  enlarged  into  longer  phrases  for 
the  basses,  which  during  seventy-six  measures 
really  dominate  the  melody  and  finally  rest  on 
the  octave  skip  at  e.  Then  follows  a  pianissimo 
passage,  which  appropriates  the  tetrachord  at  the 
close  of  the  first  theme  a  marked  *,  and  in 
canon  form  leads  through  a  crescendo  to  a  hold, 
after  which  a  Coda  commencing  with 


i 


fj^  ♦'>•." 


^^ 


w 


etc. 


brings  the  first  movement  to  a  close,  in  its  jocular 
way  reminding  us  forcibly  of  the  closing  of  the 
Minuet  in  Mozart's  G  minor  symphony. 

The  slow  movement  is  again  supplanted  by  an 
Allegretto  scherzando  in  B  flat,  %  time.  It  is  the 
well-known 

Oboes. 


which  depends  on  its  staccato  character  and  fine 
instrumentation  for  its  daintiness,  and  has  only  one 
legato  phrase  in  the  whole  movement :  — 


So 


THE  STANDARD  SYMPHONIES. 


h 

Oboe.^ — 

?ff^^ 

4 

ili3C 

6; 

?5 

« 

?= 

=^ 

\  ill  •ss= 

ioliti. 

-etc. 

The  Minuet,  in  F,  appears  this  time  in  its  own 
true  character,  and  develops  the  stately  dance  with 
its  gliding  figures  to  a  perfection  only  found  in  the 
best  efforts  of  Haydn  and  Mozart.  The  third  part, 
or  Trio,  has  this  opening  for  the  horns,  — 


-^  -^ 


etc. 


anticipating  a  vein  of  which  Schubert   frequently 
availed  himself.     The  Minuet  is  then  repeated. 

The  last  part,  Allegro  vivace,  in  F  major,  opens 
with  this  tremulous  figure  for  the  vioUns,  pianissimo  : 


1^1-jJjjJEg 


As  we  have  had  occasion  several  times  to  mention 
Beethoven's  sketch-books  we  copy  this  motive  as 
he  jotted  it  down  at  its  first  inception  :  — 


etc. 

The  reader  can  form  some  idea  from  this  how  con- 
scientiously and  diligently  Beethoven  matured  these 
fundamental  ideas  before  he  established  the  forms 
in  which  we  now  have  them,  and  which,  as  we  have 
said  before,  cannot  be  altered  in  any  degree  with- 


THE  SYMPHONY  IN  F.  8i 

out  destroying  them.     The  second   theme  is   the 
following  cantilena :  — 


i 


isHilt 


■^oi-zyr 


3c5c 


-b#— •-^ 


SiSi 


I   I   I 


i    I      I     etc. 


After  a  jubilant  fortissimo  about  the  middle  of 
the  movement,  the  music  is  interrupted  by  frequent 
rests,  the  triplet  figure  gliding  past  like  a  spider 
across  his  web,  stopping  short,  then  rushing  on 
again  to  a  second  hold,  after  which  a  new  design  is 
introduced  in  a  descending  scale  in  the  strings,  and 
is  opposed  in  the  wind  instruments  by  a  similar 
scale,  ascending.  These  scales  move  quietly  and 
pianissimo  in  semibreves,  while  the  triplet  figure 
is  flitting  about  here  and  there  until  the  scale  mo- 
tive is  brought  in  fortissimo.  The  marvellous  skill 
of  the  composer  which  is  brought  into  play  in  this 
movement  could  only  be  pointed  out  at  great  length, 
and  is  of  secondary  importance  to  the  listener.  To 
the  ear  all  is  joyous  excitement.  Surprise  chases 
surprise.  Fortissimos  are  relieved  by  sudden  pianis- 
simos,  the  close  figure  of  the  opening  theme  by  the 
octave  jumps  in  the  basses,  and  the  tremulous  double 
triplet  by  crashing  syncopations,  running  at  last  into 
a  most  boisterous  phrase  with  a  sforzando  on  every 
other  note,  —  an  apparently  reckless  performance, 
but  produced  and  subordinated  by  scientific  devices. 
The  main  themes  are  once  more  hastily  touched, 
and  the  movement  exhausts  itself  in  a  long  repeti- 
tion of  the  final  chord,  as  if  trying  to  reach  the 
longed-for  rest. 

G 


82     THE  STANDARD  SYMPHONIES. 

The  joyous,  happy  spirit  pervading  the  whole 
composition,  with  its  intermezzos  of  fun  and  quiet 
humor,  will  not  fail  to  impress  any  hearer.  When 
compared  with  the  works  of  the  later  romanticists, 
Schubert,  Mendelssohn,  and  Schumann,  it  seems  to 
contain  many  ideas  foreshadowing  those  which  they 
developed  to  such  perfection,  though  to  Beethoven's 
more  serious  cast  of  mind  these  sportive  fancies 
were  only  incidental.  Listen  to  the  motives  at  a,  b, 
and  e;  the  pizzicato  closing  of  the  first  movement; 
the  airy,  perfectly  magic  opening  of  the  Allegretto  ; 
and  last,  but  not  least,  to  the  peculiar  buzzing  char- 
acter of  the  double  triplet  in  the  last  movement 
when  employed  pianissimo.  These  phrases  only 
need  an  intentional  interpretation  to  suggest  the 
best  samples  of  elfin  music  from  Mendelssohn's 
"  Midsummer  Night's  Dream,"  or  Berlioz's  "  Queen 
Mab." 

Sir  George  Grove  in  his  admirable  analysis  of 
this  symphony  says  :  "  It  may  not  touch  the  ex- 
treme heights  and  depths  of  the  spirit  as  some  of 
the  nine  do,  but  it  has  no  less  its  own  place  in  the 
circle  which  nothing  but  itself  can  fill ;  and  if  the 
outward  result  is  an  index  of  the  inward  mind,  it  is 
pleasant  to  think  that  Beethoven  when  he  wrote  it 
must  have  been  very  happy  and  full  of  enjoyment." 


THE  SYMPHONY  IN  D  MINOR.  g^ 

SYMPHONY  No.  9,  IN  D  MINOR  (CHORAL).    Op.  125 
I.   Instrumental. 

1.  Allegro  ma  non  troppo  ux  poco  maestoso. 

2.  Scherzo,  molto  vivace;  Trio,  presto. 

3.  Adagio  molto  e  cantabile. 

4.  Recitative,  Presto  ;  Allegro  ma  non  troppo,  etc. 

5.  Allegro  assai. 

II.  Vocal. 

1.  Recitative. 

2.  Quartet  and  Chorus  ;  Allegro  assai. 

3.  Tenor  Solo  and  Chorus  :  Allegro  assai  vivace  ;  Alla 

MARCIA. 

4.  Chorus:  Andante  maestoso. 

5.  Chorus:  Allegro  energico,  sempre  ben  marcato. 

6.  Quartet  and  Chorus  :  Allegro  ma  non  tanto. 

7.  Chorus:  Prestissimo. 

The  Ninth,  or  "Choral,"  symphony,  written  in 
1823,  the  last  and  greatest  of  the  immortal  group, 
stands  prominently  out  among  all  other  works  of 
its  class  by  its  combination  of  voices  and  instru- 
ments. Before  its  composition,  Beethoven  had 
been  preparing  the  way  for  such  a  union.  In  the 
Choral  Fantasie,  ^vritten  in  1808,  he  advanced 
upon  the  idea  by  employing  a  chorus  in  the  Finale  ; 
but  in  the  Choral  symphony  he  made  a  still  bolder 
advance,  and  introduced  a  chorus  with  variations 
on  a  colossal  scale.  There  is  a  striking  resem- 
blance between  the  two  in  the  choral  parts,  and 
Beethoven  himself  describes  the  symphony  as  being 
"  in  the  style  of  the  Pianoforte  Choral  Fantasie,  but 
on  a  far  larger  scale." 

Schiller's  "  An  die  Freude,"  the  "  Ode  to  Joy," 
was  selected  by  Beethoven  for  the  P'inale.     Thirty 


84 


THE  STANDARD   SYMPHONIES. 


years  before  the  composition  was  really  begun  he 
had  had  this  poem  in  mind  as  a  fitting  subject  for 
musical  treatment,  as  is  shown  by  the  following  ex- 
tract from  a  letter  written  to  Schiller's  sister  :  "  I  have 
preserved,"  says  the  writer,  "  a  setting  [published  in 
1805  as  op.  52,  No.  2]  of  the  'Feuerfarbe'  for 
you,  of  which  I  should  like  your  opinion.  It  is  by 
a  young  man  of  this  place  whose  musical  talent  is 
becoming  notorious,  and  whom  the  Elector  has  just 
sent  to  Vienna  to  Haydn.  He  intends  to  compose 
Schiller's  '  Freude,'  verse  by  verse."  This  was  in 
1 793,  and  the  symphony  was  not  performed  until 
1824.  In  181 1  an  attempt  to  set  the  words  is 
found  in  sketches  of  the  Seventh  and  Eighth  sym- 
phonies. The  first  of  these  sketches  is  given  as 
follows,  by  Thayer  :  — 

Oiwerture  Schiller. 


h^-H 

hM 

["M 

-*  r  r 

^frr^ 

[=M 

h^ 

^^ 

Freu 


de 


scho    -    ner 


Got 


ter 


Fun    -    ken 


r    rl  r    r=^ 


^ 


=^=^ 


-«— P4=- 


Toch 


ter 


E 


After  various  attempts,  as  indicated  by  his  sketch- 
books, Beethoven  adopted  an  entirely  new  melody, 
which  was  finally  evolved  into  the  present  setting. 
The  composer  did  not  use  all  of  Schiller's  words, 
nor  did  he  retain  the  order  in  which  they  occur 
in  the  Ode.  Schindler,  in  his  "  Life  of  Beethoven," 
tells  how  he  struggled  with  the  text.     He  says  :  — 

"  In  November,  1823,  Beethoven  began  to  compose 
the  Ninth  symphony,  for  which  he  brought  many 
sketches  from  the  country  to  town  with  him;  and  in 


THE  SYMPHONY  IX  D  MINOR.  85 

February,  1S24,  this  colossus  was  completed.  It  may 
not  be  uninteresting  to  notice  the  way  in  which  Beet- 
hoven introduced  Schiller's  '  Hymn  of  Joy '  into  the 
fourth  movement  of  the  symphony.  At  that  time  I 
was  seldom  from  his  side,  and  could,  therefore,  closely 
observe  his  strugsjles  with  the  difficulties  of  his  com- 
position:  the  highly  interesting  sketches  and  mate- 
rials for  this,  all  of  which  I  possess,  bear  witness  to 
these  difficulties.  One  day  when  I  entered  his  room 
he  called  out  to  me,  '  I  have  it !  I  have  it ! '  holding 
out  to  me  his  sketch-book,  where  I  read  these  words  : 
'  Let  us  sing  the  immortal  Schiller's  song  —  The 
Hymn  of  Joy,'  which  introduction  he  afterwards  al- 
tered to  'Friends,  not  these  tones.'  The  recitative 
of  the  double-bass  also  was  not  comprehended  in  his 
original  plan,  and  was  added  when  he  changed  the 
above-mentioned  introductory  movement ;  in  conse- 
quence of  which  it  was  necessary  to  give  a  different 
form  to  almost  all  that  preceded,  as  the  fundamental 
sentiment  of  that  device  required.  He  had  nearly  the 
same  process  to  go  through  with  the  melody  in  the 
first  verse,  which  the  bass  has  to  sing.  The  sketch- 
book shows  a  four-fold  alteration  ;  and  above  each  he 
wrote,  according  to  his  practice,  '  Meilleur.'  " 

The  progress  and  performance  of  the  symphony 
come  next  in  order.  On  the  6th  of  April,  1822, 
Beethoven  wrote  to  his  friend  and  pupil  Ferdinand 
Ries,  then  in  London,  asking  what  the  Philhar- 
monic Society  would  be  likely  to  pay  him  for  a  sym- 
phony. Ries  brought  the  matter  to  the  attention 
of  the  Society,  and  it  authorized  him  to  offer  Beet- 
hoven $250  for  a  manuscript  sympliony.  On  the 
20lh  of  December  he   accepted  the   commission. 


86     THE  STANDARD  SYMPHONIES. 

He  concluded  his  labors  in  1824,  and  sent  the 
manuscripts  to  London,  though  it  was  first  given  in 
Vienna  at  the  Karnthnerthor  Theatre,  May  7  of 
that  year.  Of  this  initial  performance,  in  which 
Miles.  Sontag  and  Ungher  were  the  soprano  and  alto 
soloists,  Schindler  says  :  — 

"  It  was  the  occasion  of  an  enthusiastic  demonstra- 
tion, such  as  has  seldom  been  accorded  to  any  music 
or  man  in  or  out  of  Germany.  We  are  told :  '  The 
glorious  Jupiter  symphony  seemed  to  act  upon  the  im- 
mense mass  of  human  beings  that  thronged  the  build- 
ing in  every  part  like  ambrosial  nectar.  They  became 
intoxicated  with  delight ;  and  when  the  refrain  was 
caught  up  by  the  choir,  "Seid  unschlungen  Millionen," 
a  shout  of  joy  rent  the  air,  completely  drowning  the 
singers  and  the  instruments.' 

"  '  But  there  stood  the  master  in  the  midst,  absorbed 
and  sunk  within  himself.  His  face  turned  toward  the 
orchestra,  he  saw  nothing,  and  his  entire  deafness 
prevented  his  hearing  either  the  sounds  he  had  cre- 
ated or  the  roaring  tumult  it  had  inspired.  Fraulein 
Ungher,  the  contralto,  turned  him  gently  round,  and 
then  what  a  sight  met  his  astonished  gaze!  — a  multi- 
tude transported  with  joy.  Almost  all  were  standing, 
and  the  greater  number  melted  to  tears,  now  for  the 
first  time  fully  realizing  the  extent  of  Beethoven's 
calamity.'  " 

The  manuscript  copy  in  the  possession  of  the 
London  Philharmonic  Society  bears  the  following 
inscription  in  Beethoven's  handwriting  :  ^  — 

1  The  first  performance  by  the  London  Philharmonic  Society 
was  given    March   21,  1825,  Mme.  Caradori,  Miss  Goodall,  Mr. 


THE  SYMPHONY  IN  D  MINOR. 


87 


Grosse  Sinfonie,  geschrieben 
fiir  die  Philharmonische  Gesellschaft 
in  London, 
von  Ludwig  van  Beethoven. 
Erster  Satz. 

The  symphony  is  without  introduction  proper. 
There  is  a  prologue  introducing  the  first  subject, 
"  ahvays  pianissimo,"  in  which  the  instruments  seem 
to  be  feehng  their  way.  It  begins  with  an  incom- 
plete chord,  'cello,  second  violin,  and  horns,  the  first 
violins  following  sotto  voce  :  — 

U^     SemPre.      Sotto  voce.     ^    Violin  I. 


^ 


JCPF 


i^ 


^••>»>>      • •  ■    • 


»»«»»■ 


Violin  II. 


^ 


'Cello. 


I'iola.  ± 


" — vr 


Vaughan,  and  Mr.  Phillips  taking  the  solo  parts,  and  Sir  George 
Smart  conducting.  The  "  Harmonicon  "  contains  the  following 
unique  criticism  of  the  symphony  :  — 

"In  the  present  symphony  we  discover  no  diminution  of  Beet- 
hoven's creative  talent ;  but  with  all  the  merits  it  possesses,  it  is  at 
least  twice  as  long  as  it  should  be.  The  last  movement,  a  chorus, 
is  heterogeneous,  and  though  there  is  much  vocal  beauty  in  parts  of 
it,  yet  it  does  not,  and  no  habit  will  ever  make  it,  mix  up  with  the 
first  three  movements.  What  relation  it  bears  to  the  symphony 
we  could  not  make  out.  The  most  original  feature  in  this  sym- 
phony is  the  Minuet,  and  the  most  singular  part  the  succeeding 
Trio.  We  were  also  much  pleased  by  a  very  noble  march  which  is 
introduced.  In  quitting  the  present  subject  we  must  express  our 
hope  that  the  new  work  of  the  great  Beethoven  may  be  put  into  a 
produceable  form  ;  that  the  repetitions  may  be  omitted,  and  the 
chorus  removed  altogether.  The  symphony  will  then  be  heard 
with  unmixed  pleasure,  and  the  reputation  of  its  author  will,  if 
possible,  be  further  augmented." 


88 


THE  STANDARD  SYMPHONIES. 


After  a  repetition  the  real  work  begins.  Against 
the  background  of  the  second  violins  and  'cellos, 
strengthened  by  the  sustained  tones  of  the  horns, 
clarinets,  and  flutes,  the  violins,  tenors,  and  contra- 
basses appear  in  broken  phrases.  Then  the  wind 
instruments  come  in  one  by  one,  and  at  last  with  a 
mighty  crescendo  the  whole  orchestra  in  unison 
sweeps  into  the  first  subject :  — 


^^^^^ 


^ 


w 


^ 


ff 


m 


r^ 


=p 


The  great  crescendo  dies  away,  but  the  titanic  crash 
is  renewed  again  and  again  whenever  the  theme 
occurs.  It  is  a  struggle  full  of  hopelessness  and 
melancholy,  a  many-colored  picture  of  the  feelings 
and  moods  which  must  have  possessed  the  mind  of 
the  composer.     The  second  subject  — 


Clarinet.  I 


^ 


^  Flute.  f\        I 


Clarinet. 


^i=^i=¥ 


m 


f^izy  f^'«em^"^ 


t^ — =^ 


Sempre  fi    ^      ^ 
Flute.    I  ±:    J. 


te.\  ±    J.^ g,  6  |^-^_i5 


-SSI 


is  in  striking  contrast  with  the  first,  being  tranquil 
and  gentle  in  its  inception.     At  its  conclusion,  the 


THE  SYMPHONY  IN  D  MINOR.  89 

violins  announce  another  energetic  phrase,  and  the 
strife  is  resumed,  at  last  reaching  an  episode  from 
which  is  developed  a  brief  but  very  melodious  pas- 
sage followed  by  a  second  episode  for  the  strings 
in  unison,  that  leads  on  to  the  close  of  the  first  part 
of  the  movement,  ending  fortissimo  and  in  unison. 
This  division  is  not  repeated.  In  its  place  Beet- 
hoven proceeds  with  the  working  out  of  his  ma- 
terials with  a  vigor  and  majesty  that  have  never 
been  surpassed,  the  orchestral  parts  moving  inde- 
pendently of  each  other  and  frequently  opposed, 
yet  forming  well-developed  parts  of  a  grand  whole, 
until  the  Coda  is  reached,  into  which  he  seems  to 
have  thrown  not  only  all  his  skill  but  all  of  his  own 
conflicting  moods  and  restless,  agitated  spirit ;  for 
this  symphony  was  written  during  a  period  of  his 
life  filled  with  deep,  brooding  melancholy.  The 
old  subjects  and  episodes  are  worked  up  with  pro- 
found skill ;  but  before  he  closes,  a  new  and  darker 
subject  appears  in  the  strings,  companion  to  a 
threnody  sung  by  the  reeds,  the  strings  repeating  a 
chromatic  passage  through  and  above  which  is 
heard  the  wail  of  the  oboes,  until  the  movement 
closes  with  a  powerful  outburst,  as  if  the  soul  were 
seeking  to  free  itself  from  the  menaces  of  destiny. 
Wagner  has  aptly  characterized  this  movement  as 
"a  grandly  conceived  struggle  of  the  joy-seeking 
soul  against  the  pressure  of  that  hostile  power 
which  interposes  itself  between  us  and  earthly 
happiness." 

In   the  Scherzo  there  is  a  radical  change  from 


90 


THE  STANDARD  SYMPHONIES. 


gloom  to  gladness.     Wagner,  in  his  analysis  of  the 
symphony,  says  of  this  movement :  — 

"A  wild  delight  seized  us  at  once  with  the  first 
rhythms  of  this  second  movement :  it  is  a  new  world 
into  which  we  enter,  in  which  we  are  whirled  away  to 
giddiness,  to  loss  of  reason ;  it  is  as  if,  urged  by  des- 
peration, we  fled  before  it,  in  ceaseless,  restless  efforts 
chasing  a  new  and  unknown  happiness,  since  the  old 
one  that  once  sunned  us  with  its  distant  smile  seems 
to  have  utterly  forsaken  us.  Goethe  expresses  this 
impulse,  not  without  significance  perhaps  for  the  pres- 
ent case,  in  the  following  words  :  — 

'  The  end  I  aim  at  is  not  Joy. 
1  crave  excitement,  agonizing  bliss,'  etc. 

'  In  depths  of  sensual  pleasure  drown'd, 
Let  us  our  fiery  passions  still ! ' 

"With  the  headlong  entrance  of  the  middle  subject, 
there  suddenly  opens  upon  us  one  of  those  scenes  of 
earthly  recreation  and  indulgence;  a  certain  down- 
right jollity  seems  expressed  in  the  simple,  oft-re- 
peated theme  ;  it  is  full  of  naivete  and  self-satisfied 
cheerfulness." 

After  twelve  bars  of  prelude  the  orchestra  is  fairly 
launched  into  the  Scherzo,  as  follows,  — 

Molto  vivace. 


Vinlin  n.  i 


Violin  II. 
Viola. 


etc. 


^^ 


l?fTlfTT*lf^r^S^ 


^ 


i243.  'Cello.    -^^ 

in  which  all  the  instruments  successively  join  with 
spirited  and  brilliant  effect.     The  wind  instruments 


THE  SYMPHONY  IN  D  MINOR. 


91 


follow  with  a  second  theme,  accompanied  by  the 
strings,  which,  after  repetition,  leads  up  to  still  other 
tuneful  motives  given  out  by  the  winds.  The 
Scherzo  closes  pianissimo,  but  at  last  the  horns  and 
trombones  joyfully  announce  the  Trio  with  its 
charming  pastoral  opening  :  — 


Oboes  and  Clar. 


i 


=i 


i* 


i 


^ 


w 


f=^ 


Bass  Trotnb.    1 


etc. 


'0S-^'^\!  rrf|j^ij=|=(±rr|fi^^l^ffl^ 


Fagotto. 

A  vivacious  subject  for  violas  and  'cellos  follows 
the  first,  and  then  the  horns  fairly  revel  in  the  prin- 
cipal theme  until  the  Coda  is  reached,  in  which  the 
whole  orchestra  joins  with  the  utmost  joyousness. 

From  the  storm  and  stress  of  the  Allegro  and  the 
geniality  and  hilarity  of  the  Scherzo,  the  third 
movement.  Adagio,  changes  to  celestial  rest  and 
serenity,  and  is  among  the  noblest,  purest,  and  most 
grandly  beautiful  hymns  of  joy  the  great  master  has 
written.^     It  is  made  up  of  two  distinct  subjects 

1  Third  Movement  (Adagio  molto  c  cantabile,  in  B  fiat 
major).  How  differently  these  tones  speak  to  our  hearts  !  How 
pure,  how  heavenly  soothing  !  They  melt  the  defiance,  the  wild 
impulse  of  the  soul  tormented  by  despair,  into  a  tender  and  melan- 
choly feeling.  It  is  as  if  memory  awoke  within  us,  the  memory 
of  an  early  enjoyed  and  purest  happiness  :  — 

"  Then  would  celestial  love,  with  holy  kiss, 
Come  o'er  me  in  the  Sabbath's  stilly  hour, 
Whilp,  fraught  with  solemn  and  mysterious  power, 
Chimed  the  deep-sounding  bell,  and  prayer  was  bliss." 

And  with  this  recollection  there  conies  over  us  once  more  that 


92 


THE  STANDARD  SYMPHONIES. 


differing  in  every  musical  respect,  which  are  alter- 
nately developed  until  the  second  disappears.  The 
first,  Adagio  molto  e  cantabile,  is  in  B  flat,  and 
for  delicious  repose  and  ethereal  sweetness  can 
hardly  be  excelled  in  the  whole  realm  of  musical 
art.  It  is  taken  by  the  quartet  of  strings  with  in- 
terludes by  the  clarinets  and  horns,  as  follows  :  — 

I  dagio  molto  e  cantabile. 


After  the  strings  have  finished  the  melody,  and 
the  first  part  of  the  movement  comes  to  a  close,  the 
time  changes  as  well  as  the  key,  and  the  second 
violins  and  tenors  announce  the  following  subject 
in  unison,  which  in  its  quiet,  graceful,  and  smoothly 
flowing  measures  almost  rivals  its  companion  :  — 

A  iidiinte  moderato.     Con  espressione. 


iiu  ,i,r,ro;^^ 


*: 


m. 


§*'» 


sweet  longing  that  is  so  beautifully  expressed  in  the  second  theme 
of  this  movement  (Andante  moderato,  D  major),  and  to  which  we 
may  not  unfitly  apply  Goethe's  words  :  — 

"  A  yearning  impulse,  undefined,  yet  dear, 

Drove  me  to  wander  on  through  wood  and  field; 
With  heaving  breast,  and  many  a  burning  tear, 
1  felt  with  holy  joy  a  world  revealed." 

It  seems  like  the  longing  of  love  which  again  is  answered,  only 
with  more  movement  and  embellishment  of  expression,  by  that 
hope-promising  and  sweetly  tranquillizing  first  theme,  so  that  on 
the  return  of  the  second  it  seems  to  us  as  if  love  and  hope  em- 
braced, so  that  they  might  the  more  entirely  exert  their  gentle 
power  over  our  tormented  soul.  It  is  as  when  Faust  speaks,  after 
the  Easter  bells  and  chorus  of  angels.  —  Wagner. 


THE   SYMPHONY  IN  D   MINOR. 


93 


The  transition  from  this  serene  movement  to  the 
Finale  is  a  startling  one.  The  wind  instruments 
and  drums,  reinforced  by  the  double-bassoon,  break 
out  in  a  most  clamorous  fanfare,  which  is  inter- 
rupted by  a  recitative  passage  for  the  double-basses, 
marked  "  Selon  le  caractere  d'un  recitatif,  mais  in 
tempo,"  as  if  expostulating  against  the  uproar.  It 
is  to  little  purpose,  however,  for  the  clamor  is  re- 
newed even  more  boisterously.  Again  the  recita- 
tive is  heard,  and  again  the  clamor  ;  but  at  last  there 
is  an  instant's  hush.  The  opening  bars  of  the  first 
three  movements  appear,  alternating  with  recitative, 
but  these  evidendy  are  not  wanted.  At  last  the 
final  theme  is  foreshadowed,  quietly  and  almost 
timidly,  until  the  'cellos  and  basses  vigorously  and 
unmistakablv  give  it  out  in  the 
"  Hymn  of  Joy  "  :  — 

A  llegro  assai. 


setting   of  the 


Next  the  violas  and  'cellos  take  the  theme,  then  the 
first  violins,  and  at  last  the  whole  orchestra  in  full 
force.  After  its  variation,  the  ominous  clamor  which 
introduced  the  Presto  is  heard  again.  This  time  it  is 
not  interrupted  by  the  basses,  but  by  the  solo  bary- 
tone intoning  the  recitative  :  '  — 

1  The  translation  adopted  is  that  made  by  Mr.  Arthur  Mecs  for 
a  performance  of  the  symphony  at  the  first  Chicago  May  Festival, 
given  in  18S2. 


94     THE  STANDARD  SYMPHONIES. 

"  O  Brothers,  these  tones  no  longer  !  Rather  let  us  join  to  sing 
in  cheerful  measures  a  song  of  joyfulness." 

The  same  voice  sings  the  Hymn,  accompanied 
by  the  oboes  and  clarinets,  and  is  followed  by  the 
chorus,  at  first  without  the  sopranos,  and  alternating 
with  the  solo  quartet :  — 

"  Hail  thee,  Joy,  from  Heaven  descending, 
Daughter  from  Elysium  1 
Ecstasy  our  hearts  inflaming, 
To  thy  sacred  shrine  we  come. 

"  Thine  enchantments  bind  together 
Those  whom  custom's  law  divides  ; 
All  are  brothers,  all  united, 
Where  thy  gentle  wing  abides. 

'•  He  whom  fickle  fortune  blesses, 

Giving  friendship  firm  and  strong, 
Who  a  loving  wife  possesses, 
Let  him  join  our  joyful  song, 

"  Even  he  to  whom  one  being 

In  the  whole  world  may  belong. 
He  who  never  knew  this,  weeping, 
Let  him  leave  our  happy  throng. 

"  Pleasure  every  creature  living 

From  kind  Nature's  breast  receives  ; 
Good  and  wicked,  all  are  walking 
In  the  rosy  path  she  leaves. 

"  Vines  and  kisses  she  is  giving, 

Friendship,  fearless  of  death's  hand. 
E'en  the  worm  has  joy  in  living. 

While  near  God  the  cherubs  stand." 

Now  the  orchestra  resounds  Avith  martial  strains 
in  which  the  percussion  instruments  are  used  with 


THE  SYMPHONY  IN  D  MINOR.  95 

mighty  effect,  introducing  the  tenor  solo,  with  cho- 
rus, in  a  variation  of  the  theme  :  — 

"Joyful  like  his  suns  so  glorious, 
Fly  through  Heaven  day  by  day, 
Hasten,  brothers,  on  your  way 
Like  a  hero  e'er  victorious. 
Hasten,  brothers,  on  your  way. 
Chorus — Hail  thee,  Joy,  from  Heaven,"  etc. 

The  next  number  is  also  for  chorus,  and  its  so- 
lemnity and  religious  sentiment  finely  contrast  with 
the  martial  clang  of  its  predecessor.  It  is  at  first 
given  out  by  the  male  voices,  the  female  voices 
following :  — 

"  Millions,  loving,  I  embrace  you. 
All  the  world  this  kiss  I  send. 
Brothers,  o'er  yon  starry  tent 
Dwells  a  God  whose  love  is  true. 

"  Millions,  bow  ye  down  in  wonder? 
Earth,  feel'st  thou  thy  Maker  nigh  ? 
Seek  Him  o'er  the  starry  sky  ! 
He  must  dwell  in  glory  yonder." 

Following  this  comes  a  chorus  full  of  spirit,  Alle- 
gro energico,  sempre  ben  marcato,  with  a  lively 
accompaniment,  based  upon  the  two  related  themes 
that  have  been  employed  :  — 

"  Hail  thee,  Joy,  from  Heaven  descending, 
Daughter  from  Elysium,"  etc. 

The  solo  quartet  again  intones  the  Hymn,  alter- 
nating with  chorus,  — 

"  Hail  thee,  daughter  from  Elysium, 
Thine  enchantments  bind  together,"  etc. 


96 


THE  STANDARD  SYMPHONIES. 


The  time  is  gradually  accelerated  to  a  Prestissimo, 
and  voices  and  orchestra  in  full  volume  close  the 
work  with  the  triumphant  shout,  — 

"  Millions,  loving,  I  embrace  you, 
All  the  world  this  kiss  I  send,"  etc. 


CHORAL  FANTASIE    IN  C  MINOR.    Op.  80. 

[For  Piano,  Orchestra,  and  Chorus.] 

1.  Adagio  (Piano). 

2.  Finale,  Allegro. 

a.  Allegro  (Orchestra). 

b.  Meno  Allegro  (Piano  and  Orchestra). 

c.  Allegretto,  ma  non  troppo  (Chorus). 

Beethoven's  sketch-book  shows  that  some  of  the 
materials  for  the  Choral  Fantasie  were  collected 
as  early  as  i8oo,  though  it  was  not  given  until 
Dec.  2  2,  i8o8,  when  Beethoven  himself  produced 
it.  It  is  written  in  two  general  sections  :  an  Adagio 
and  Allegro,  for  piano  solo,  orchestra,  solo  quartet, 
and  chorus.  While  the  work  is  very  beautiful  and 
effective  in  itself,  it  derives  special  interest  from  its 
being  the  prototype  of  the  Choral  symphony.  In 
a  letter  written  to  Probst,  March  lo,  1824,  the  com- 
poser mentions  the  Finale  of  the  symphony  as  "  in 
the  same  style  as  the  Fantasie,  but  more  extended." 
A  striking  resemblance  indeed  will  be  found  be- 
tween the  two  finales,  not  only  in  their  general  form 
of  variations,  but  in  the  consecutive  character  of 
the  notes  and  the  melody  of  the  themes  themselves, 
the  one  clearly  anticipating  the  other  in  many  re- 


CHORAL  FANTASIE  IN  C  MINOR. 


97 


spects.  The  Fantasie  was  first  published  in  1811, 
under  the  title  of  "  Fantasie  fiir  das  Pianoforte, 
mit  Begleitung  des  ganzen  Orchesters  und  Chor" 
("Fantasie  for  pianoforte  with  accompaniment  of 
full  orchestra  and  chorus"),  and  was  dedicated  to 
Maximilian  Joseph,  king  of  Bavaria,  the  only  dis- 
tinction the  master  was  pleased  to  bestow  upon 
that  monarch.  The  poem  which  forms  the  subject 
of  the  Finale  was  written  by  Kuffner,  and  is  de- 
voted to  the  praise  of  music,  beginning,  — 

"  Schmeichelnd  hold  und  lieblich  klingen 
Unsers  Lebens  Harmonien," 

freely  translated  by  Mrs.  Macfarren  for  the  usual 
English  version,  — 

"  Soft  and  sweet  through  ether  winging 
Sound  the  harmonies  of  hfe." 

The  Adagio  with  which  the  work  opens  is  a  fan- 
tasie for  piano  alone,  after  which  the  Finale  begins 
with  an  Allegro  in  C  minor,  the  opening  theme  of 
which  is  given  out  pianissimo  by  the  basses  in  a 
very  grave  and  dignified  manner  and  subsequently 
developed  in  canon  form  by  the  violins.  The 
oboes  and  horns  now  introduce  a  new  theme  which 
is  taken  up  by  the  piano  with  accompaniment  of 
the  horns,  the  melody  being  adapted  from  one  of 
Beethoven's  songs,  "  Seufzer  eines  Ungeliebten," 
written  in   i  795  :  — 

Do/ce. 


98 


THE  STANDARD  SYMPHONIES. 


First  the  piano  and  then  the  other  instruments 
repeat  this  theme  with  variations,  after  which  the 
entire  orchestra  brings  it  to  a  close  in  firm  and 
stately  style.  A  short  phrase  by  the  piano  preludes 
a  development  of  the  first  section  of  the  melody 
through  an  Allegro,  an  Adagio,  and  a  march  tempo, 
at  the  close  of  which  the  piano  introduces  a  new 
phrase  closing  with  an  arpeggio.  A  genuine  con- 
test ensues  between  the  piano  and  the  basses,  which 
comes  to  an  end  as  the  wind  instruments  give  out 
the  leading  theme,  which  is  first  taken  up  by  the 
solo  voices  with  piano  accompaniment  and  then  by 
full  chorus  and  orchestra,  bringing  the  work  to  a 
brilliant  and  powerful  close. 


fw^mm 


T 


BERLIOZ. 


works. 


ECTOR  BERLIOZ  (1803-1869)  has  car- 
ried programme-music  to  an  extreme 
beyond  that  reached  by  any  other  com- 
poser, particularly  in  his  symphonic 
They  present  no  parallel  with  the  sym- 
phonies of  the  recognized  masters,  though  he  was 
a  close  student  of  Beethoven,  Haydn,  and  Mozart, 
wrote  about  them  with  remarkable  knowledge  and 
appreciation,  and  knew  their  works  by  heart.  He 
brought  rare  qualities  to  the  composition  of  his  sym- 
phonies, —  rich  imaginative  power,  courage  in  the 
use  of  effects  to  the  very  verge  of  audacity,  pro- 
found knowledge  of  instrumentation  and  orchestral 
resources,  great  skill  in  the  combinations  of  instru- 
ments, and  a  highly  fanciful  if  not  poetic  tem- 
perament ;  but  his  music  of  this  class  is  not  only 
dramatic  but  theatrical  in  its  style.  He  made  the 
picture  the  dominant  idea.  Beethoven  in  his  Pas- 
toral symphony  left  the  hearer  to  his  own  sensa- 
tions.    He  sought  not  to  present  a  transcript  of 


lOO  THE  STANDARD  SYMPHONIES. 

the  picture  itself,  but  of  the  emotions  caused  by  it ; 
Berlioz,  on  the  other  hand,  pictured  the  scene  or 
situation  and  even  took  pains  to  describe  it  defi- 
nitely, leaving  nothing  to  the  hearer's  imagination. 
Indeed,  in  a  note  to  his  "  Romeo  and  Juliet "  he  says, 
"  The  public  has  no  imagination."  Berlioz  wrote 
much  about  his  own  music,  and  in  his  autobiograph- 
ical sketch  says  with  much  truth  :  "  The  dominant 
qualities  of  my  music  are  passionate  expression, 
internal  fire,  rhythmic  animation,  and  unexpected 
changes."  In  his  preface  to  the  "  Symphonic  Fan- 
tastique  "  he  thus  clearly  explains  his  ideas  of  pro- 
gramme-music :  — 

"The  composer  has  aimed  at  developing  various 
situations  in  the  life  of  an  artist,  so  far  as  seemed 
musically  possible.  The  plan  of  an  instrumental 
drama,  being  without  words,  requires  to  be  explained 
beforehand.  The  programme  (which  is  indispensable 
to  the  perfect  comprehension  of  the  dramatic  plan  of 
the  work)  ought  therefore  to  be  considered  in  the 
light  of  the  spoken  text  of  an  opera,  serving  to  lead 
up  to  the  pieces  of  music,  and  indicate  the  character 
and  expression." 

In  all  his  symphonies  Berlioz  carried  out  this 
idea.  They  are  four  in  number  :  "  Symphonic  Fan- 
tastique,  premiere  partie  de  I'Episode  de  la  vie 
d'un  artiste  "  ("  Fantastic  Symphony,  first  part  of 
the  Episode  in  the  Life  of  an  Artist"),  op.  14^, 
and  "  Lelio,  ou  le  Retour  a  la  Vie,  monodrame 
l}Tique,  deuxieme  partie  de  I'Episode  de  la  vie 
d'un  artiste "  ("  Lelio,  or  the  Return  to  Life,  lyric 


THE  SYMPHONY  FANTASTIQUE.         loi 

nionodrama,  second  part  of  the  Episode  in  the 
Life  of  an  Artist"),  op.  \^b;  "Grande  Sympho- 
nic funebre  et  triomphale,  pour  grande  harmonie 
militaire,  avec  un  orchestre  d'instruments  a  cordes, 
et  un  choeur  ad  libitum  "  ("  Grand  Funeral  and 
Triumphal  Symphony,  for  full  military  band  with 
string  orchestra  and  chorus  ad  libitum  "),  op.  15, 
first  performed  July  28,  1840;  "Harold  en  Italie, 
symphonic  en  quatre  parties,  avec  un  alto  principal  " 
("  Harold  in  Italy,  symphony  in  four  movements, 
with  viola  obbligato"),  op.  16;  and  "  Rom^o  and 
Juliette,  symphonic  dramatique  avec  choeurs,  solos 
de  chant,  et  Prologue  en  rdcitatif  choral,  d'apres  la 
Trag^die  de  Shakspearc  "  ("  Romeo  and  Juliet,  dra- 
matic symphony,  with  chorus,  solos,  and  prologue 
in  choral  recitative  after  Shakspeare's  tragedy  "),  op. 
1 7,  first  given  in  Paris,  Nov.  24,  1839. 


SYMPHONIE  FANTASTIQUE.    Op.  14. 

1.  Adagio.    Allegro  agitato.    (Reveries  and  Passions.) 

2.  Le  Bal.     (The  Ball.) 

3.  ScfeNE  aux  Champs.     (Scene  in  the  Fields.) 

4.  Marche  du  Supplice.     (Journey  to  Execution.) 

5.  SoNGE  d'un  Nuit  de  Sabbat.     (Dream  in  a  Witches' 

Sabbath  Night.) 

The  "  Symphonic  Fantastiquc,"  also  entitled  by  its 
composer  "  Episode  in  the  Life  of  an  Artist,"  was 
written  by  Berlioz  in  his  nineteenth  year  (1S29), 
while  a  pupil  at  the  Paris  Conservatory.  Li  his 
autobiography  he  says  :  — 


102  THE  STANDARD  SYMPHONIES. 

"  It  was  while  I  was  yet  strongly  under  the  influ- 
ence of  Goethe's  '  Faust '  that  I  wrote  my  '  Symphonic 
Fantastique.'  Some  portions  cost  me  great  labor, 
while  others  were  composed  with  incredible  ease. 
For  instance,  I  labored  for  three  weeks  over  the 
'  Scene  aux  Champs,'  which  always  affects  the  public 
so  keenly,  —  and  myself  too  for  that  matter,  —  and 
three  times  gave  it  up  as  hopeless.  '  La  Marche  au 
Supplice,'  on  the  other  hand,  was  written  in  one  night. 
Still  I  kept  on  adding  finishing  touches  to  both  num- 
bers and  to  the  whole  work  for  several  years." 

This  symphony  will  always  be  noteworthy  as  his 
first  attempt  at  programme-music.  Every  move- 
ment of  this  strange  work  is  prefaced  by  a  regular 
programme  and  accompanied  by  notes  which  call 
the  hearer's  attention  beforehand  to  the  scenes 
which  the  music  is  intended  to  describe.  Nothing 
is  left  to  conjecture.  The  symphony  is  a  distinct 
story  of  a  melodramatic  character  in  five  chapters, 
and  each  chapter  is  headed  with  a  table  of  contents 
carefully  and  explicitly  made  out.  To  describe  the 
symphony  it  is  hardly  necessary  to  do  more  than  to 
tell  the  bizarre  story  of  this  episode  in  the  life  of 
an  artist,  which  is  a  very  nightmare  of  passion.  In 
the  opening  movement  he  introduces  a  young  mu- 
sician madly  in  love  with  a  woman  of  ideal  perfec- 
tion, represented  by  a  musical  figure  which  he  calls 
the  "  id^e  fixe."  Like  a  Wagner  motive  this  melody 
binds  the  various  sections  of  the  symphony  to- 
gether, and  appears  sometimes  clear  and  sometimes 
distorted   in   every  changing  phase  of  the  artist's 


THE  SYMPHONY  FANTASTIQUE.       103 

gloomy  experiences.  The  whole  movement  is  based 
upon  this  "fixed  idea,"  representing  the  vague  long- 
ings of  love,  its  melancholy,  ecstatic,  jealous,  and 
frenzied  moods.  The  theme  haunts  the  music  as 
the  vision  of  the  ideal  woman  haunts  the  artist. 
In  his  autobiography  Berlioz  describes  the  origin 
of  this  melody.  In  his  twelfth  year  he  met  Estelle, 
a  niece  of  Madame  Gautier,  "  a  tall,  slight  girl  of 
eighteen,  with  splendid  shining  eyes,  a  mass  of  hair 
which  might  have  waved  on  the  casque  of  Achilles, 
and  the  feet  of  a  thoroughbred  Parisian,  clad  in  a 
pair  of  pink  shoes."  Writing  of  this  episode  in  his 
career,  he  says  :  — 

"  I  composed  a  very  sad  song  to  some  words  which 
expressed  my  despair  at  leaving  the  woods  and  the 
spots  which  had  been  'honoitfs  par  les  pas,  ^clair^s  par 
les  yeux,'  and,  I  might  add,  by  the  pink  shoes  of  my 
cruel  fair  one.  The  song  was  burnt  before  I  went  to 
Paris,  but  when  I  undertook  to  write  my  '  Symphonie 
Fantastique,'  in  1829,  the  melody  came  back  to  me,  and 
as  it  seemed  to  express  the  overwhelming  grief  of  a 
young  heart  in  the  pangs  of  a  hopeless  passion,  I 
adopted  it.  It  is  the  air  for  the  violins  at  the  opening 
of  the  Largo  in  the  first  part  of  the  work,  *  Reveries, 
Passions.'     I  put  it  in  just  as  it  was." 

The  second  movement  introduces  us  to  a  ball, 
but  even  in  the  midst  of  the  festivity,  and  listening 
to  the  sensual  strains  of  the  waltz,  the  face  of  the 
loved  one  haunts  the  artist.  From  a  technical  point 
of  view  this  movement  shows  the  great  skill  of  the 
composer  in   the  symphonic  treatment  of  a  waltz 


104 


THE  STANDARD  SYMPHONIES. 


rhythm,  but  the  brilliant  dance  music  is  ever  and 
anon  interrupted  as  the  melody  which  belongs  to 
the  loved  one  asserts  itself  through  the  bewitching 
strains. 

The  third  movement,  "  Scene  aux  Champs," 
is  one  of  quiet  pastoral  beauty,  though  it  gathers 
gloom  as  it  proceeds  and  closes  in  ominous  dark- 
ness and  silence.  The  lover  is  in  the  fields  at 
evening  and  hears  the  shepherd's  answering  songs, 
sung  by  the  oboe  and  horn.  The  charm  of  the 
spot,  its  peaceful  repose,  the  gentle  approach  of 
evening,  and  the  rustic  chants  call  up  the  vision  of 
the  loved  one  and  inspire  him  with  hope,  which 
soon  clouds  over  again  as  darkness  comes  on.  One 
of  the  shepherds  repeats  his  song,  but  the  other 
does  not  answer.  The  low  rumble  of  a  storm  is 
heard  in  the  distance,  and  the  despairing  lover  gives 
way  to  melancholy. 

In  the  fourth  movement,  "  Marche  du  Supplice," 
persuaded  that  his  affection  is  not  reciprocated,  the 
frenzied  lover  takes  poison  with  the  intention  of 
suicide,  but  the  drug  instead  of  killing  him  only 
produces  a  stupor  filled  with  wild  hallucinations. 
He  imagines  that  he  has  killed  his  mistress  and  is 
the  witness  of  his  own  execution.  The  march  to 
the  scaffold  begins  amid  the  chanting  of  the  Dies 
Irae,  the  tolling  of  bells,  and  the  mournful  roll  of 
muffled  drums.  Even  the  rush  of  the  multitude 
and  the  tramp  of  their  feet  are  heard  in  this  realistic 
music.  The  fatal  melody,  however,  does  not  leave 
him  even  here.     It  is  constantly  heard  in  the  gloom 


HAROLD  IN  ITALY.  105 

until  it  is  cleft  in  twain  by  the  sharp  stroke  of  the 
headsman's  axe. 

The  last  movement,  which  is  really  a  continuation 
of  the  fourth,  pictures  the  lover  in  the  midst  of  the 
witches  and  demons  who  have  gathered  to  witness 
his  burial.  The  interment  takes  place  accompanied 
by  a  wild  orgy  which  reminds  one  of  the  chorus  of 
demons  in  "  The  Damnation  of  Faust,"  and  is  best 
described  by  the  programme :  "  Howls,  laughs, 
cries  of  pain,  complaint.  The  beloved  melody  is 
again  heard,  but  as  a  common,  vulgar  dance  theme 
now.  It  is  she  who  comes.  Loud  rejoicings  at 
her  arrival.  Demoniac  orgies.  Death  bells.  The 
Dies  Irse  again,  but  travestied." 


HAEOLD   IN  ITALY     Op.  16- 

1.  Harold  aux  Montagnes.  Scenes  de  m^lancolie, 
DE  BONHEUR,  ET  DE  joiE.  (Harold  in  the  mountains.  Scenes 
of  melancholy,  happiness,  and  joy.) 

2.  MarCHE  de  Pj^LERINS,  CHANTANT    la    PRifeRE    DU    SOIR. 

(March  of  pilgrims,  singing  the  evening  prayer.) 

3.  S^r^nade  d'un  Montagnard  des  Abbruzes  a  sa 
Maitresse.  (Serenade  of  a  mountaineer  of  the  Abruzzi  to  his 
mistress.) 

4.  Orgie  des  Brigands.  Souvenirs  des  SciNES  VRtct- 
dentes.     (Orgy  of  brigands.     Souvenirs  of  preceding  scenes.) 

"  Harold  in  Italy  "  was  written  in  1834,  and  first 
produced  at  the  Paris  Conservatory,  November  23 
of  the  same  year,  the  viola  obbligato,  which  forms 
such  an  important  feature  of  the  work,  being  played 
by  M.  Urban.     The  story  of  its  composition,  as  told 


io6  THE  STANDARD  SYMPHONIES. 

by  Berlioz  in  his  autobiography,  is  of  more  than 
ordinary  interest.  On  the  2 2d  of  December,  1833, 
he  gave  a  concert  at  which  the  "  Symphonie  Fan- 
tastique  "  was  performed  with  great  success.  Among 
the  auditors  was  Paganini,  who  was  so  dehghted 
that  he  overwhehned  Berlioz  with  compliments. 
Some  weeks  afterward  he  visited  the  composer  and 
entreated  him  to  write  a  solo  for  a  wonderful 
Stradivarius  viola  which  he  possessed.  After  some 
hesitation  Berlioz  consented,  and  wrote  the  solo  in 
concerted  form,  giving  the  orchestra  its  due  con- 
sideration. No  sooner  was  the  first  movement  fin- 
ished than  Paganini  desired  to  see  it,  and  promptly 
expressed  his  dissatisfaction  at  the  numerous  waits, 
whereupon  Berlioz  abandoned  the  project.  The 
viola  solo  was  not  lost,  however.     He  says  :  — 

"  Finding  that  my  plan  of  composition  did  not  suit 
him,  I  applied  myself  to  carrying  it  out  in  another 
way ;  and  without  troubling  myself  any  further  as  to 
how  the  solo  part  should  be  brought  into  brilliant  re- 
lief, I  conceived  the  idea  of  writing  a  series  of  scenes 
for  the  orchestra  in  which  the  viola  should  find  itself 
mixed  up,  like  a  person  more  or  less  in  action,  always 
preserving  his  own  individuality.  The  background 
I  formed  from  my  recollections  of  my  wanderings 
in  the  Abruzzi,  introducing  the  viola  as  a  sort  of 
melancholy  dreamer,  in  the  style  of  Byron's  '  Childe 
Harold.' " 

Thus  from  this  afterthought  came  the  Harold 
symphony,  though  its  title  is  something  of  a  mis- 
nomer if  one  seeks  to  connect  the  work,  either  in 


HAROLD  IN  ITALY.  107 

its  general  character  or  its  incidents,  with  the  Italian 
wanderings  of  Byron's  hero.  The  viola  theme,  how- 
ever, typifies  Harold,  reveals  to  us  his  presence,  and 
pictures  his  mental  conditions  in  every  movement 
of  the  symphony.  In  his  reference  to  the  work 
Berlioz  accurately  defines  the  part  which  the  theme 
plays  in  the  development  of  the  scheme.  He 
says  :  — 

"As  in  the  '  Symphonie  Fantastique,'  one  principal 
theme  (the  first  strain  of  the  viola)  is  reproduced 
throughout  the  work,  but  with  this  difference,  that  in 
the  'Symphonic  Fantastique'  the  theme,  the  'idde  fixe,' 
is  obstinately  introduced  amid  scenes  wholly  foreign 
to  it,  like  a  passionately  episodic  subject,  whilst  Har- 
old's strain  is  superadded  to  the  other  orchestral 
strains,  with  which  it  contrasts  both  in  movement  and 
character,  without  hindering  their  development." 

The  story  of  the  symphony  is  the  story  of  what 
Harold  witnesses  in  his  wanderings.  The  restless, 
melancholy  exile  beholds  Nature  in  her  loveliest  as 
well  as  her  most  majestic  aspects,  but  they  fail  to 
cheer  him.  He  is  in  the  midst  of  a  band  of  happy 
and  devoted  pilgrims  journeying  along  to  worship  at 
some  shrine,  but  religion  no  more  than  Nature  can 
calm  his  troubled  spirit.  He  witnesses  a  moun- 
taineer serenading  his  mistress  beneath  her  window, 
but  the  simple  love-scene  has  no  charm  for  him. 
In  despair  he  joins  the  bandits,  and  rushes  into  one 
of  their  orgies,  where  at  last  all  his  better  thoughts 
and  noi)lcr  feelings  arc  lost  in  a  vortex  of  dissipation 
and  frenzy. 


Io8  THE  STANDARD  SYMPHONIES. 

The  first  movement,  "  In  the  Mountains,"  is  di- 
vided into  two  sections,  both  in  the  key  of  G,  —  an 
Adagio  expressive  of  Harold's  melancholy,  and  a 
strongly  contrasting  Allegro  signifying  his  transient 
feeling  of  happiness  and  joy.  The  Adagio  opens 
with  a  characteristic  phrase  for  the  basses  and  'cellos, 
to  which  the  bassoon  adds  a  theme  in  chromatic 
progression.  This  is  relieved  by  a  second  theme, 
at  first  taken  by  the  wood  winds  and  then  devel- 
oped by  the  viola,  typifying  the  reflective  character 
of  Harold,  as  it  does  throughout  the  rest  of  the 
work.  The  harps  and  clarinets  accompany  the 
monologue  as  it  moves  on  toward  the  second 
section  of  the  movement.  Four  times  the  viola 
seeks  to  make  the  change  and  at  last  seizes  the 
joyous  melody  of  the  Allegro,  and  the  music  flows 
on  to  the  close  brightly  and  gracefully,  richly  col- 
ored and  always  original  and  characteristic. 

The  second  movement,  "  March  of  the  Pilgrims," 
is  one  of  the  most  charming  numbers  Berlioz  has 
ever  written.  The  march  themes  are  very  simple, 
but  the  composer  has  invested  them  with  a  peculiar 
charm  by  their  sweetness  and  grace  as  well  as  by  the 
richness  of  the  instrumentation.  The  music  is  also 
very  descriptive,  and  a  pleasing  eflect  is  made  by 
crescendo  and  diminuendo  as  the  pilgrims  approach, 
file  past,  and  slowly  disappear  in  the  distance.  The 
pretty  scene  closes  with  an  evening  prayer,  in  which 
Berlioz  shows  his  skill  in  treating  simple  religious 
song. 

The  third  movement,  "The  Serenade,"  is  a  fit 


HAROLD  IN  ITALY. 


109 


sequel  to  the  second  in  its  general  character.  It 
opens  in  genuine  pastoral  style,  the  horn  and  oboe 
giving  a  Tyrolean  effect  to  the  music  and  leading 
up  to  a  quaint  and  very  refined  serenade  in  slower 
time.  But  even  in  the  serenade  of  the  mountaineer, 
as  in  the  march  of  the  pilgrims,  the  unrestful  and  sad 
plaint  of  the  viola  is  heard. 

In  the  last  movement,  "  The  Orgy,"  Berhoz  gives 
free  rein  to  his  audacity  and  love  of  the  horrible, 
and  ends  the  career  of  Harold,  like  that  of  the  ar- 
tist in  the  "  Symphonic  Fantastique,"  in  a  wild  and 
crashing  hurly-burly  of  sound  intended  to  picture  a 
foul  and  frenzied  org)'.  The  movement  opens  with 
reminiscences  of  preceding  themes,  woven  together 
with  great  skill.  Among  them  is  the  Harold  theme, 
announcing  his  presence,  and  the  march  of  the  pil- 
grims taken  by  two  violins  and  'cellos  in  the  wings, 
indicating  their  passage  in  the  distance.  As  if  Har- 
old had  turned  for  a  moment  and  longingly  listened 
to  the  beautiful  melody,  wishing  that  he  were  with 
them,  the  viola  replies  to  it.  It  is  only  a  snatch, 
however,  for  at  once  the  furious  orgy  begins  which 
drowns  every  reminiscence,  and  goes  on  with  con- 
stantly increasing  din  and  volume  to  the  end,  as  if 
all  the  demons  of  the  underworld  had  been  let 
loose. 


BRAHMS. 


OHANNES  BRAHMS,  one   of  the  most 
conservative  of  the   modern  symphonic 
writers,  played  some  of  his  compositions 
when  but  nineteen  years  of  age  before 
Schumann,  who   placed  himself  on  record  in  the 
"  Neue  Zeitschrift  fiir  Musik  "  in  the  following  en- 
thusiastic description  of  the  young  composer :  — 

"  Following  with  the  greatest  interest  the  paths 
pursued  by  these  elected  ones,  I  thought  that  after 
such  a  state  of  things  there  would  and  must  suddenly 
appear  one  destined  to  give  expression  in  an  ideal 
manner  to  the  deepest  feelings  of  the  age ;  one  who 
would  present  us  with  the  qualities  of  a  master,  not 
developed  gradually,  but  like  Minerva  springing  com- 
pletely armed  from  the  head  of  Jupiter.  He  has  now 
come, —  a  youth  at  whose  cradle  graces  and  heroes 
kept  guard.     His  name  is  Johannes  Brahms." 

Brahms  did  not  produce  his  first  symphony  until 
a  comparatively  late  period  in  his  life.  His  earlier 
works  had  shown  the  influence  of  Mendelssohn 
and  particularly  of  the  composer  who  had  given 


BRAHMS.  1 1 1 

him  such  a  flattering  introduction  to  the  musical 
world  ;  but  in  this,  his  first  large  work,  notwithstand- 
ing his  debut  in  romanticism,  it  was  at  once  ap- 
parent that  he  had  gone  farther  back  and  grounded 
himself  upon  Haydn,  Mozart,  and  Beethoven,  and 
that  his  future  work  was  to  be  based  upon  the  pure 
classic  form  in  its  most  absolute  sense.  Unques- 
tionably he  has  many  of  the  new-school  tendencies, 
and  he  brings  to  his  work  poetic  feeling,  strong 
imaginative  power,  and  genuine  dramatic  intensity, 
but  these  qualities  are  never  allowed  to  transcend 
the  fixed  limits  of  the  pure  form.  They  are  always 
subordinated  to  scholarly  treatment  and  dignity  of 
purpose,  with  such  truth  and  earnestness  indeed 
that  many  critics  have  found  him  plodding  and 
pedantic.  Such  he  may  appear  when  compared 
with  the  writers  of  programme-music,  or  with  those 
who  are  constantly  searching  for  the  bizarre  or  the 
sensational,  but  it  must  be  conceded  his  ideas  are 
new  and  original.  The  difference  between  him  and 
many  of  his  contemporaries  is  that  he  expresses 
them  in  the  old  forms,  and  will  not  depart  from  the 
conservative  standards.  At  the  same  time,  within 
those  limits  he  not  only  secures  artistic  develop- 
ment and  unity,  but  displays  unusual  strength  and 
freedom.  While  his  themes  are  always  original  and 
sometimes  very  striking,  it  is  not  until  they  have 
been  thoroughly  developed  and  their  treatment 
made  complete  that  his  work  is  recognized  as  per- 
fect in  its  balance,  always  lofty  in  its  purpose,  and 
artistic  in  its  effect  as  pure  instrumental  music. 


112  THE  STANDARD  SYMPHONIES. 


SYMPHONY  No.  1,  IN  C  MINOR.     Op.  68. 

1.  Un  poco  sostenuto.    Allegro. 

2.  Andante  sostenuto. 

3.  Un  poco  allegretto  e  grazioso. 

4.  Adagio,  piu    andante.      Allegro  moderato  ma  con 

BRIO. 

Notwithstanding  Schumann's  panegyric,  Brahms 
waited  until  he  was  forty-nine  years  of  age  before 
he  produced  his  first  symphony.  Rumors  of  its 
coming  preceded  it  many  years,  but  when  the  com- 
poser was  questioned  about  them  he  only  remarked 
there  had  been  one  C  minor  (Beethoven's  Fifth),  and 
there  was  no  need  of  another.  In  the  fall  of  1876, 
however,  it  made  its  appearance,  and  was  performed 
successively  at  Stuttgart,  Carlsruhe,  Mannheim,  and 
in  the  Gewandhaus  at  Leipsic,  as  well  as  at  Cam- 
bridge, England,  everywhere  creating  an  enthusiasm 
which  found  its  most  flattering  expression  in  Von 
Billow's  remark  :  "  We  have  at  last  a  tenth  sym- 
phony." The  attempt  to  estabUsh  Brahms  as  Beet- 
hoven's immediate  successor  and  peer  is  hardly 
justified ;  but  it  cannot  be  questioned  that  the  sym- 
phony made  a  profound  impression  in  the  musical 
world,  and  that  it  will  hold  its  place  as  a  work 
of  the   first   class. 

The  symphony  opens  with  a  short  introduction, 
Un  poco  sostenuto,  espressivo  e  legato,  of  an  agi- 
tated and  somewhat  melancholy  but  harmonious 
character  and  based  upon  the  two  themes  of  the 
Allegro,  from  which  it  is  separated  by  four  measures 


THE  SYMPHONY  IN  C  MINOR.  113 

of  prelude.  It  is  in  reality  a  clear  general  state- 
ment of  the  movement,  the  principal  theme  of 
which  is  given  out  by  the  violins,  accompanied  by  a 
chromatic  phrase  for  the  'cello  and  bassoon,  which 
appears  again  with  a  phrase  derived  from  the  first 
theme  for  its  accompaniment,  thus  admirably  pre- 
serving the  unity  of  the  movement.  The  second 
subject,  full  of  hopeful  aspiration,  is  taken  by  the 
oboes,  clarinets,  bassoons,  and  horns,  treated  as  we 
have  already  indicated,  and  supplemented  by  a 
new  melody  for  the  oboes,  supported  by  a  sus- 
tained passage  for  bassoons,  violas,  and  'cellos,  one 
measure  of  which  is  used  in  imitation  between  the 
clarinet,  horn,  flute,  and  bassoon,  producing  a 
quieter  and  more  restful  feeling.  A  new  figure 
for  the  strings,  however,  soon  recalls  the  old  unrest, 
and  thus  the  first  section  of  the  Allegro  closes. 
After  the  repeat  and  in  the  working  out  of  the 
movement  a  fine  effect  is  made  by  a  long  decres- 
cendo,  leading  up  to  a  passage  which  begins  almost 
in  a  whisper  and  developed  by  degrees  to  a  tre- 
mendous fortissimo.  The  movement  closes  with 
a  Coda  in  the  same  time  and  general  character 
as  the  opening,  and  developed  with  constantly 
increasing   power. 

The  second  movement,  Andante  sostenuto,  opens 
with  an  exquisitely  melodious  theme  in  %  time  for 
the  strings,  followed  by  an  intensely  passionate 
second  theme,  also  for  strings,  accompanied  by 
a  phrase  from  the  opening  melody,  —  a  form  of 
treatment   already  observed   in  the  Allegro  move- 

8 


114    THE  STANDARD  SYMPHONIES. 

ment.  After  this  the  first  theme  returns,  this  time, 
however,  for  the  oboe,  with  response  by  the  clarinet 
and  an  accompaniment  of  staccato  chords  for  the 
violins  and  violas.  In  the  close  of  the  movement 
the  first  melody  is  divided  as  a  solo  between  the 
violin  and  flute,  with  a  charming  accompaniment 
and  characterized  by  genuine  romantic  sentiment. 

The  third  movement,  Un  poco  allegretto  e  gra- 
zioso,  is  introduced  with  a  sweet  and  graceful 
melody  for  the  clarinet,  followed  by  an  equally 
graceful  subject  for  clarinet  and  flute.  The  third 
melody  is  also  announced  by  the  clarinet  and  fin- 
ished by  the  flute  and  oboe  with  string  accompani- 
ment. The  Trio  is  in  %  time,  strongly  contrasting 
with  the  opening  of  the  movement.  At  its  close 
the  first  section  is  not  repeated,  as  is  customary  in 
a  Scherzo,  whose  place  the  movement  occupies, 
but  its  themes  are  developed  with  charming  grace 
and  skill  in  a  Coda. 

The  Finale  is  the  most  powerful  and  dramatic 
section  of  the  work,  and  is  evidently  intended  as  a 
summary  of  the  whole  symphony.  It  is  composed 
of  an  Introduction  (Adagio,  piu  andante)  and  an 
Allegro.  The  Introduction  opens  with  three  de- 
scending bass  notes  of  highly  tragic  expression, 
gradually  increasing  in  power,  which  are  subse- 
quently utilized  for  accompaniment  in  the  Allegro  ; 
and  the  violins  give  out  a  very  dramatic  phrase, 
which  also  forms  the  opening  theme  of  that  move- 
ment. All  through  this  majestic  Adagio,  which 
seems  to  be  an  alternation  between  hope  and  fate, 


THE  SYMPHONY  IN  C  MINOR. 


II  i 


there  is  a  spirit  of  restlessness  and  mj'stery ;  and 
this  is  intensified  when  with  an  acceleration  of  the 
time  and  change  of  key  to  C  major  the  horns  and 
trombones  are  introduced,  the  former  uttering  a 
most  passionate  theme  and  the  latter  fiUing  in  a 
solid  background  of  mysterious  harmony.  The 
opening  theme  of  the  Allegro  recalls  the  choral 
melody  of  Beethoven's  Ninth  symphony,  as  will 
be  seen  :  — 


f 


PS^^eS 


r3=?^'i=f^ss?=^=^ 


s-     -t  -^ 


It  is  introduced  by  the  strings,  assisted  by  the 
horn  and  bassoons,  and  is  then  repeated  by 
the  wind  instruments  accompanied  pizzicato  by 
the  strings.  Its  effect  is  magical.  To  the  preceding 
gloom,  mystery,  and  passion  succeeds  a  spirit  of  joy- 
ousness  and  healthy  contentment.  The  work  con- 
cludes with  reminiscences  of  the  preceding  themes, 
but  they  only  remind  us  of  the  fine  lines  of  rain 
that  follow  the  storm  and  glisten  in  the  reap- 
pearing  sunlight. 


Il6         THE  STANDARD  SYMPHONIES. 


SYMPHONY  No.  2,  IN  D  MAJOR.    Op.  73- 

1.  Allegro  ma  non  troppo. 

2.  Adagio  ma  non  troppo. 

3.  Allegretto  grazioso. 

4.  Allegro  con  spirito. 

The  Second  symphony  of  Brahms  was  finished  in 
1877.     Only  a  year  had  intervened  since  his  d^but 
in  this  important  field  of  music,  but  the  second  work 
is  widely  different  from  the  first  in  its  general  char- 
acter.    The  first,  as  we  have  seen,  is  full  of  passion 
and  unrest,  suggesting  strong  emotions  and  a  strug- 
gle with  destiny  almost  as  clearly  as  we  know  it  is 
expressed  in  Beethoven's  C  minor  symphony.     In 
the  second,  however,  the  composer  occupies  entirely 
new   ground.     It  is  characterized  by  cheerfulness, 
repose,  and  almost  pastoral  simplicity,  and  betokens 
peaceful  existence.     Less  dignified  perhaps  in  its 
purpose,  certainly  less  pedagogic,  if  we  may  so  call 
it,  in  its  structure  and  working  out,  it  is  none  the  less 
interesting  for  the  beauty  of  its  themes,  the  strength 
of  its  contrasts,  the  sustained  character  of  the  various 
movements,  and  the  unity  of  the  work,  secured  by  that 
contrapuntal  skill  which  Brahms  so  often  displays  in 
his  compositions.     It  has  been  charged  that  he  has 
freely  imitated  Mendelssohn,  especially  in  the  first 
movement,  but  this  is  hardly  just.     The  music  may 
remind  one  of  that  composer  in  its  general  color 
and  outline,  but  the  form,  the  workmanship,  and  all 
the  symphonic  devices  employed  are  peculiarly  those 
of  Brahms.     The  movement  of  the  symphony  is  so 


THE  SYMPHONY  IN  D  MAJOR.  117 

peaceful,  —  for  it  is  only  here  and  there  that  either 
melancholy  or  passionate  emotion  is  displayed, — 
and  it  flows  along  in  such  an  even  current  that  it  is 
more  pleasant  to  call  attention  to  its  salient  passages 
than  to  attempt  anything  hke  a  close  analysis. 

The  first  movement,  Allegro  ma  non  troppo,  as 
we  have  already  intimated,  suggests  pastoral  simplic- 
ity and  repose  ;  and  it  is  in  this  movement  that  the 
critics,  some  of  them  at  least,  find  the  Mendels- 
sohnian  resemblances.  The  opening  subject  is  beau- 
tifully set  for  the  wind  instruments,  and  is  thoroughly 
melodious,  the  horns  fairly  giving  out  festive  strains. 
The  second  theme,  in  F  sharp  minor,  sings  itself 
most  sweetly  and  gracefully  on  the  'cellos  and  viola. 
In  the  working  out,  however,  a  more  passionate  key 
is  struck  and  the  idyllic  character  of  the  movement 
is  disturbed.  Then  follows  a  succession  of  passages 
which  are  almost  stormy  in  their  effect,  so  strong 
are  the  brasses  and  blaring  even  to  dissonance  ; 
but  the  angry  waters  are  calmed  again  when  the 
first  theme  returns,  this  time  on  the  oboes,  and  the 
movement  glides  peacefully  along  to  the  Coda,  in 
which  the  horn  is  used  with  fascinating  effect  and 
a  peculiar  tone-color  is  given  by  the  quaint  pizzicato 
string  accompaniment  that  follows. 

The  second  movement  is  somewhat  sphinx-like 
as  to  its  real  purport.  The  themes  are  less  clearly 
stated.  The  form  is  more  unifjue,  but  the  work- 
manship shows  the  same  consummate  perfection 
that  characterizes  all  this  composer's  work.  Unques- 
tionably there  is  a  deep  meaning  underlying  it  both 


iiS         THE  STANDARD  SYMPHONIES. 

in  the  form  itself  as  well  as  in  its  expression,  which 
we  may  leave  to  the  hearer  to  interpret.  Deiters 
explains  this  movement  by  saying  that  "  the  com- 
poser has  intentionally  striven  to  express  the  hesita- 
tion and  fearfulness  experienced  on  beholding  a 
weird  apparition  which  still  irresistibly  entices  and 
beckons  us  onward." 

This  criticism  does  not  apply,  however,  to  the 
third  movement,  Allegretto  grazioso,  for  here  every- 
thing is  clear  and  full  of  cheerfulness,  even  to  the 
verge  of  frolicsome  gayety.  It  is  made  up  of  two 
sections,  an  Allegretto  and  Presto.  In  beauty  and 
vivacity  it  resembles  the  opening  movement  and 
strongly  partakes  of  the  Haydn  spirit.  It  begins 
with  an  exquisite  pastoral  melody  for  the  reeds 
which  is  most  deUciously  treated  and  full  of  charm- 
ing variety.  It  then  rushes  on  to  the  Presto,  which 
is  a  merry  rustic  dance  in  itself  abounding  with 
sparkling  humor  and  even  boisterous  gayety.  Then 
comes  a  repetition  of  the  Allegretto,  which  brings  the 
happy  scene  to  its  close. 

The  Finale,  Allegro  con  spirito,  has  been  likened 
to  the  Mozart  finales  by  the  critics,  not  in  a  plagia- 
ristic  sense  but  in  the  general  manner  of  treatment. 
As  in  his  First  symphony,  the  movement  is  full  of 
reminiscences  of  preceding  themes  which  are  han- 
dled with  great  skill.  After  treating  them  in  va- 
riations and  with  constantly  changing  shades  of 
tone-color,  sustaining  them  with  all  the  strength  of  a 
master,  he  seems  to  give  a  free  rein  to  his  powers, 
and   the  movement   rushes  on  with  constantly  in- 


THE  SYMPHONY  IN  F  MAJOR.  119 

creasing  vigor  and  spirit  to  a  brilliant  and  sonorous 
close. 


SYMPHONY  No.  3,  IN  F  MAJOR.    Op.  90- 

1.  Allegro  con  brio. 

2.  Andante  con  moto. 

3.  poco  allegretto. 

4.  Allegro. 

Brahms's  Third  symphony  was  first  performed  at 
one  of  the  concerts  of  the  Vienna  Philharmonic 
Society,  Dec.  2,  1883,  and  is  undoubtedly  the  most 
popular  of  the  series  for  the  reason  that  it  is  clearer 
in  its  general  construction  than  the  others.  At  the 
same  time,  while  less  complicated  and  elaborate  in 
its  development,  it  is  not  lacking  in  ideas  of  a 
thoroughly  poetical  kind  and  great  variety  of  color. 
Indeed,  in  this  work,  much  more  clearly  than  in  the 
other  two,  the  picture  in  the  composer's  mind  may  be 
traced. 

The  first  movement,  Allegro  con  brio,  opens  with 
a  short  prelude  of  powerful  chords  by  the  wind  in- 
struments, introducing  the  first  theme,  a  majestic 
melody,  which  is  given  out  by  the  violins,  accom- 
panied by  the  violas  and  'cellos,  and  supported  by 
the  trombones.  The  theme,  which  is  peculiarly 
brilliant  and  even  heroic  in  its  style,  is  treated  with 
masterly  skill  as  it  progresses  from  a  steady  and 
peaceful  flow  to  the  highest  point  of  vigor  and 
majesty.  In  the  transition  to  the  second  theme, 
however,  announced  by  the  clarinets,  occurs  a  more 


I20    THE  STANDARD  SYMPHONIES. 

restful  period ;  and  the  theme  itself,  which  is  very 
graceful  and  pastoral  in  style,  imparts  a  serious, 
earnest  character  to  the  movement,  which  is  still 
farther  enforced  by  the  skilfully  constructed  Coda. 

The  second  movement,  Andante  con  moto,  might 
almost  be  termed  a  rhapsody,  as  it  is  very  short  and 
is  not  elaborated  after  the  customary  manner.  The 
greater  part  of  the  movement  indeed  rests  upon  and 
grows  out  of  the  opening  theme,  which  is  a  simple 
but  very  graceful  and  joyous  melody,  breathing  the 
spirit  of  inward  happiness  and  contentment,  though 
in  strong  contrast  with  the  epic  character  of  the 
work.  This  theme  is  taken  alternately  by  the  wind 
instruments,  violas,  and  'cellos,  and  is  freely  treated 
in  variations,  which  give  beautiful  tone-color  to  it. 
It  has  a  brief  rest  while  the  clarinets  and  bassoons 
give  out  a  resonant,  stirring  phrase  as  if  foreshadow- 
ing what  is  to  come.  It  is  hardly  pronounced 
enough,  however,  to  be  called  a  second  theme. 
The  first  subject  at  once  returns  and  goes  on  to 
the  end  in  a  series  of  delightfully  contrasted 
effects. 

The  third  movement,  Poco  allegretto,  which  takes 
the  place  of  the  ordinary  Scherzo,  is  mostly  serious 
in  its  style,  and  really  fixes  the  general  character  of 
the  symphony.  Its  principal  theme,  a  genuine  sam- 
ple of  the  Lied,  is  given  out  by  the  'cellos,  at  first 
fanciful,  tender,  and  full  of  simple  grace,  then  remi- 
niscent and  contemplative,  and  at  last  dreamy ;  to 
which  succeeds  a  passage  for  the  wind  instruments, 
soothing  and  almost  suppliant,  as  if  deprecating  the 


THE  SYMPHONY  IN  E  MINOR.  121 

Struggle  that  must  come.  There  is  nothing  of  the 
Scherzo  character  in  this  movement.  To  have 
given  it  that  form  would  have  seriously  conflicted 
with  the  ideas  that  uphold  the  structure  of  the 
symphony  and  introduced  a  foreign  spirit  and 
color. 

The  Allegretto  dies  away  in  soft  chords  which  lead 
to  the  Finale,  —  a  passionate,  agitated,  and  sombre 
movement,  yet  heroic,  elevated,  and  strong  in  its 
style.  The  theme  with  which  it  opens  rushes  past 
with  all  the  haste  and  mystery  of  a  vision  in  a  dream, 
and  then  reappears  in  a  new  harmonic  form,  only 
to  grow  more  sorrowful  and  gloomy  with  the  en- 
trance of  the  trombones  preluding  a  new  phrase,  for 
now  the  sentiment  changes  and  we  have  in  its  place 
a  passionate  conflict.  Through  the  fierce  and  de- 
termined phrases  of  the  violins,  however,  is  heard 
the  steady,  jubilant  song  of  the  'cellos.  As  they 
announce  the  victory  the  gloom  disappears,  and 
gives  place  to  peace  and  rest  once  more,  dignified 
and  ennobled  by  the  heroic  theme  of  the  first 
movement. 


SYMPHONY  No.  4,  IN  E  MINOR-    Op.  98. 

1.  Allegko  non  assai. 

2.  Andante  moderato. 

3.  Presto  giocoso. 

4.  Allegro  e.nergicg  e  patetico. 

The  Fourth  symphony  is  universally  recognized  as 
the  most  individual  of  all  Brahms's  works  of  this 


122  THE  STANDARD  SYMPHONIES. 

class.  It  was  first  performed  at  Meiningen  under 
the  direction  of  Von  Btilow  and  Brahms  himself. 
The  German  critics  claim  that  in  this  music  the 
composer  has  displayed  himself  for  the  first  time. 
Kretschmar  enthusiastically  exclaims  :  "  The  singer 
of  the  '  German  Requiem  '  stands  before  us."  In 
his  preceding  symphonies  the  influence  and  some- 
times the  style  of  Beethoven,  Mozart,  Haydn, 
Mendelssohn,  and  Schubert  have  been  traced,  but 
in  the  simplicity  and  originality  of  its  themes,  and 
in  the  subjective  character  of  its  ideas,  as  well  as  in 
its  development,  it  bears  the  unmistakable  impress 
of  its  composer.  The  same  organic  unity  which 
characterizes  the  other  three  symphonies  in  such 
marked  degree  is  also  found  in  this,  though  the 
various  movements  illustrate  different  ideas. 

The  first  movement,  Allegro  non  assai,  opens 
with  a  melodious  theme  of  unusual  length  which  is 
treated  in  a  masterly  but  intricate  style.  It  is  a 
wayward  fancy,  now  cheerful  and  again  serious,  but 
coming  to  a  sombre  close  as  the  second  theme 
enters  in  the  same  general  manner.  As  the  move- 
ment draws  to  an  end  its  melodious  character 
grows  more  joyous,  strong,  and  dramatic,  and  the 
development  leaves  little  to  desire  in  the  way  of 
pleasing  variety  and  artistic  effect. 

The  second  movement.  Andante  moderate,  is 
almost  akin  to  the  Lied  in  the  gracefulness  and 
sweetness  of  its  melody,  its  warmth  of  tone  and  its 
refined  and  spirituelle  character;  and  the  third. 
Allegro  giocoso,  in  rondo  form,  is  full  of  animation 


THE  SYMPHONY  IN  E  MINOR. 


123 


and  good-humor,  and  yet  is  dignified  in  style  and 
strong  in  expression,  as  befits  tlie  serious  purpose  of 
the  composer,  who  always  has  a  lofty  object  in 
view. 

The  Finale,  Allegro  energico  e  patetico,  a  devel- 
opment of  the  Passacaglia  form,  is  a  model  of  ear- 
nest, serious,  artistic  workmanship,  every  measure  of 
it  revealing  the  conscientious  and  scientific  scholar. 
It  opens  with  a  succession  of  massive  chords  intro- 
ducing a  stately  first  theme  which  frequently  reap- 
pears. A  melodious  flute  solo  intervenes,  and  then 
the  development  begins,  in  which  the  subjects  are 
given  out  in  a  broad  and  restful  manner  and  treated 
with  a  richness  of  color  and  refinement  of  style,  as 
well  as  a  perfection  in  workmanship,  which  have 
rarely  been  excelled. 


COWEN. 

REDERICK  H.  COWEN,  the  English 
composer,  is  perhaps  better  known  in  the 
musical  world  by  his  vocal  than  by  his  in- 
strumental compositions.  As  a  song-writer 
he  has  been  very  successful.  He  has  also  written 
three  cantatas  —  "  The  Corsair,"  "The  Rose  Maid- 
en," and  "  The  Sleeping  Beauty  "  —  which  are  much 
esteemed.  Besides  these  his  opera  "  Pauline,"  first 
performed  by  the  Carl  Rosa  troupe  at  the  Eyceum 
Theatre,  London,  Nov.  22,  1876,  is  a  favorite  in 
England.  His  instrumental  repertory  has  not  been 
large.  A  fantasie-sonata,  trio,  quartet,  pianoforte  con- 
certo, and  the  incidental  music  to  Schiller's  "  Joan 
of  Arc  "  prepared  the  way  for  his  symphonic  d^but, 
which  was  made  in  1869  with  his  No.  i  in  C  minor. 
Since  that  time  he  has  written  four,  namely,  F  major, 
1872  ;  C  minor  (Scandinavian),  1880  ;  B  flat  minor 
(Cambrian),  1884;  and  F  major,  1887.  Of  these 
the  Scandinavian  is  unquestionably  his  best  and 
most  finished  work,  and  is  particularly  noticeable 
for  its  local  color  and  scholarly  treatment.  It  has 
frequently  been  heard  in  this  country,  and  has  always 
been  received  with  enthusiasm. 


THE  SYMPHONY  IN  C  MINOR.  125 


SYMPHONY  No.  3,  IN  C  MINOR  (SCANDINAVIAN). 

1.  Allegro  moderato  ma  cox  moto. 

2.  molto  adagio. 

3.  Scherzo.     Molto  vivace  quasi  presto. 

4.  Finale.     Allegro  ma  non  troppo.    Allegro  molto 

vivace. 

Cowen's  symphony  in  C  minor,  better  known  as 
the  Scandinavian  symphony,  was  first  performed  in 
London,  Dec.  18,  1880,  and  since  that  time  has 
made  the  tour  of  the  musical  world  in  England, 
Germany,  and  the  United  States,  and  been  received 
with  a  cordial  welcome.  It  is  a  charming  example 
of  programme-music  in  a  romantic  form,  and,  as  its 
name  suggests,  seeks  to  convey  impressions  of  tlie 
Northland.  The  opening  movement,  Allegro  mod- 
erato ma  con  moto,  is  sombre  and  almost  melan- 
choly in  character,  and  delineates  the  natural 
emotions  inspired  by  the  forests  and  mountains  of 
Scandinavia.  It  begins  with  a  quiet  and  serious 
theme  for  clarinets  and  bassoons  alone,  to  which  the 
violins  reply  without  changing  its  general  character, 
leading  up  after  a  repeat  to  the  full  orchestral  effect, 
in  which,  excepting  horns  and  trumpets,  the  instru- 
ments are  in  unison.  After  a  short  development  of 
this  theme,  the  second  is  given  out  by  the  violins, 
repeated  by  the  'cellos,  and  then  taken  by  'cellos  and 
first  violins.  This  theme  is  local  in  its  color  and  in 
strong  contrast  with  the  first,  —  the  one  sombre,  the 
other  cheerful.  After  the  repetitions,  the  subjects 
are  worked  up  in  the  orthodox  manner,  the  general 


126    THE  STANDARD  SYMPHONIES. 

character  of  the  music  alternating  between  energy 
and  quiet ;  but  the  first  theme  ultimately  asserts  it- 
self with  great  power  and  dominates  the  close  of 
the  movement. 

The  second  movement,  Molto  adagio,  is  very 
poetical  in  its  sentiment.  It  is  entitled  "  Summer 
Night  at  the  Fjord,"  and  is  intended  to  represent 
the  impressions  of  one  standing  by  the  water  in  the 
moonlight,  looking  out  on  the  one  hand  at  the 
shimmering  waves,  and  on  the  other  at  the  darkling 
mountains.  Even  more  than  the  opening  move- 
ment the  Adagio  is  colored  with  the  Northern  tone. 
It  opens  with  a  short  passage  for  the  strings,  which 
alternates  between  them  and  the  wood  winds  and 
is  charmingly  treated.  As  it  comes  to  a  close  an 
unexpected  but  delightful  intermezzo  occurs,  —  an 
Allegretto,  representing  a  party  of  pleasure-seekers 
sailing  along  the  other  shore,  whose  song  comes 
across  the  water  to  the  listener  and  disturbs  his 
meditations.  The  song  is  given  out  by  the  horn 
quartet  with  harp  accompaniment,  and  diminishes 
as  the  boat  sails  along  in  the  darkness,  finally  dying 
away  into  the  stillness  of  the  night.  Once  more 
the  flute  and  oboes,  followed  by  the  violins,  take  up 
the  principal  theme  of  the  Adagio,  and  the  develop- 
ment proceeds  to  the  end,  interrupted  for  a  few 
measures  only  by  the  horn  theme,  which  is  once 
more  heard  in  the  distance  through  the  dreamy 
visions  of  the  fjord.  The  movement  as  a  whole  is 
charming  for  its  poetical  ideas  and  tender,  romantic 
effect. 


THE  SYMPHOiYY  LV  C  MINOR.         127 

The  Scherzo,  molto  vivace  quasi  presto,  presents 
a  third  picture  entirely  different  from  its  predecessors 
in  color  and  outlines.  From  the  moonlight  night 
on  the  fjord  we  are  transported  at  once  into  the 
heart  of  a  Northern  winter,  and  enjoy  a  sleigh-ride. 
The  opening  theme,  introduced  by  the  strings,  and 
its  treatment  are  full  of  the  freedom  and  exhilara- 
tion of  the  drive,  and  ingeniously  reproduce  the 
motion  of  the  horses,  while  the  triangle's  clang  sup- 
plies the  jingle  of  the  bells.  The  Scherzo  is  in  con- 
ventional form,  and  has  a  pretty  Trio  and  a  Coda 
reuniting  the  themes  of  each. 

The  final  movement,  Allegro  ma  non  troppo, 
leading  to  Allegro  molto  vivace,  is  constructed  upon 
a  larger  and  more  energetic  plan  than  any  of  the 
others,  and  has  the  genuine  Northern  sturdiness 
and  rugged  force.  It  enters  with  its  main  subject 
in  unison,  which  increases  in  vigor  with  the  Allegro 
molto  vivace.  The  second  theme  is  introduced  by 
the  violins,  followed  by  the  basses,  and  after  its 
working  up,  the  first  part  of  the  movement  closes 
with  the  repetition  of  the  opening  theme.  From 
this  point  on,  the  movement  is  in  the  nature  of  a 
fantasie,  which  is  devoted  not  alone  to  the  first 
theme,  but  includes  in  its  scheme  the  second  motive 
of  the  first  Allegro,  the  opening  bars  of  its  first 
theme,  and  the  principal  theme  of  the  Adagio. 
The  entire  close,  however,  is  dominated  by  the  strong 
theme  which  opened  the  movement,  and  is  treated 
in  a  very  skilful  manner. 


DVORAK. 


NTON  DVORAK,  the  Bohemian  com- 
poser who  is  making  such  a  stir  in  the 
musical  world,  has  earned  his  reputation 
by  hard  and  persevering  work  in  the  face 
of  many  obstacles.  His  father  combined  the  busi- 
ness of  tavern-keeper  and  butcher,  and  young 
Dvorak  was  his  assistant  in  both  occupations,  amid 
the  environments  of  which  it  may  be  assumed  he 
had  little  opportunity  to  pursue  the  study  of  music. 
An  uncle  first  recognized  his  artistic  ability  and 
secured  his  admission  to  an  organ-school,  where 
for  the  first  time  he  heard  the  music  of  Mozart, 
Beethoven,  and  Mendelssohn.  From  i860  until 
1871  he  earned  a  precarious  livelihood  by  playing 
in  strolling  bands  and  theatre  orchestras,  but  during 
all  this  time  he  persisted  in  composition,  though 
piece  after  piece  was  rejected.  At  last  his  sym- 
phony in  F  was  laid  before  the  Minister  of  Instruc- 
tion in  Vienna,  and  upon  the  recommendation 
of  Herbeck  a  grant  of  two  hundred  dollars  was 


THE  SYMPHONY  IX  D  MAJOR.         129 

awarded  him.  When  Brahms  replaced  Herbeck 
on  the  committee  which  reported  upon  artists' 
stipends,  he  fully  recognized  Dvorak's  ability,  and 
not  only  encouraged  him  but  also  brought  him  be- 
fore the  world  by  securing  him  a  publisher  and 
commending  him  to  Joachim,  who  still  further  ad- 
vanced his  interests  by  securing  performances  of 
his  works  in  Germany  and  England.  Since  that 
time  he  has  risen  rapidly,  and  is  now  recognized  as 
one  of  the  most  promising  of  living  composers. 
He  has  written  four  symphonies :  No.  i,  in  F 
major,  1871  ;  No.  2,  in  E  flat,  1874;  No.  3,  in  D 
major,  1884;  and  No.  4,  in  D  minor,  1885,  but 
of  these  the  D  major  was  the  first  published  and  is 
the  only  one  known  in  our  concert-rooms.  Though 
peculiarly  Slavic  in  many  of  its  characteristics,  it  is 
nevertheless  orthodox  in  its  form  and  treatment  and 
shows  great  mastery  of  orchestral  resources. 

SYMPHONY  No.  3,  IN  D  MAJOR.    Op.  60. 

1.  Allegro  non  tanto. 

2.  Adagio. 

3.  Scherzo  (furiant). 

4.  Finale.    Allegro  con  spirito. 

Dvofdk's  Third  symphony  was  written  in  1884, 
and  is  the  best  known  of  the  group.  It  was  also 
his  first  published  work,  and  is  the  only  one  yet  per- 
formed in  this  country.  Notwithstanding  its  essen- 
tially Slavic  character  the  regular  symphonic  form 
is  not  modified  in  any  particular.     Instruments  are 

y 


130  THE  STANDARD  SYMPHONIES. 

sometimes  employed  in  very  peculiar  and  unique 
ways,  and  the  modulations  are  often  striking  and 
unusual ;  but  the  adaptability  of  the  symphonic  form 
as  originated  by  Haydn  and  developed  by  Mozart 
and  Beethoven  is  clearly  shown  in  this  work  of 
Dvorak's. 

The  first  movement,  Allegro  non  tanto,  contains 
a  rich  display  of  musical  ideas  in  its  group  of 
themes.  The  prelude  to  the  opening  theme  is 
divided  between  the  wind  instruments,  basses,  and 
bassoons,  and  after  four  bars  the  subject  is  reached  ; 
but  the  key  soon  changes  and  a  vigorous  interrup- 
tion occurs,  after  which  the  theme  returns  in  the 
original  time  with  a  brilliant  forte  passage  for  the 
brasses.  Its  stay  is  transient,  however,  and  the  in- 
terruption occurs,  very  vivacious  in  its  character, 
which  leads  up  to  the  introduction  to  the  second 
theme,  —  a  thoroughly  unique  melody  given  out  by 
the  'cellos  and  horns,  with  a  picturesque  string 
accompaniment.  A  duet  for  oboe  and  bassoon  fol- 
lows, with  a  melodious  figure  in  accompaniment  for 
the  second  violins  and  violas,  and  a  long-sustained 
tone  by  the  first  violins.  The  theme  is  then  re- 
peated by  full  orchestra,  after  which  all  the  ideas  of 
the  movement,  of  which  there  are  no  less  than  six 
distinct  ones,  are  worked  out  in  the  orthodox  form. 

The  second  movement.  Adagio,  is  rich  in  color, 
though  gentle  and  dreamy  in  its  sentiment.  After 
a  short  prelude,  as  in  the  first  movement,  the  first 
theme  is  given  out  by  the  strings  with  accompani- 
ment by  the  wind  instruments.     After  a  short  epi- 


THE  SYMPHONY  IN  D  MAJOR.         131 

sode  we  reach  the  second  part  of  the  theme,  taken 
by  the  flutes,  with  a  refrain  by  the  oboes,  —  one  of 
the  tenderest  and  most  fascinating  songs  imagina- 
ble. The  key  then  changes,  and  another  short 
episode  brings  us  back  to  the  original  key  and 
principal  subject.  Another  episode  developed  from 
the  materials  of  this  theme  occurs  and  is  followed 
by  the  Coda,  in  which  there  is  a  characteristic 
'cello  solo. 

The  third  movement,  Scherzo,  gives  a  national 
character  to  the  whole  symphony.  It  is  marked 
"  Furiant,"  and  is  in  form  and  substance  almost 
identical  with  the  Slavonic  dances,  so  many  of 
which  Dvorak  has  arranged.  Its  opening  theme  is 
fresh,  piquant,  and  spirited,  and  is  repeated  over 
and  over  to  a  wild  and  furious  accompaniment, 
punctuated  and  emphasized  with  all  the  strange 
accents  and  unusual  rhythms  that  characterize  the 
Bohemian  and  Hungarian  music.  The  excitement 
reaches  its  climax  in  the  Trio,  in  which  the  flutes 
and  strings,  pizzicato,  carry  the  melody,  and  the  pic- 
colo gives  it  the  genuine  Slavic  color.  The  second 
theme  of  the  Trio  is  broader  and  more  dignified  in 
style,  and  at  its  close  the  Scherzo  is  repeated  and 
ends  this  stirring  movement. 

The  last  movement.  Allegro  con  spirito,  is  made 
up  of  simple  Bohemian  melodies,  treated  in  the 
most  vigorous  style.  The  opening  theme  is  given 
out  by  the  strings  and  clarinets,  and  with  constantly 
accelerating  tempo  dashes  on  with  a  second  theme 
for   oboes   and   horns,  which   grows  foirly  furious 


132  THE  STANDARD  SYMPHONIES. 

when  taken  by  the  whole  orchestra  and  yet  shows 
humorous  features  in  the  peculiar  entrances  of  the 
horns  and  trombones.  The  Coda  opens  with  the 
first  theme  splendidly  set  forth  by  the  horns  and 
violas,  and  is  developed  with  great  skill.  The  move- 
ment comes  to  an  end  with  a  brilliant  and  vigorous 
Presto. 


GADE. 


I  ELS  WILHELM  GADE,  the  representa- 
tive Scandinavian  composer,  was  born  at 
Copenhagen,  Oct.  22,  18 17.  Though  he 
pursued  his  early  studies  with  Wyse,  a 
prominent  Danish  teacher,  he  was  in  many  respects 
a  self-made  musician.  He  made  his  d^but  in  com- 
position in  i84i,when  he  obtained  the  prize  offered 
by  the  Copenhagen  Society  of  Amateurs  for  the  best 
overture  for  full  orchestra,  with  his  "  Nachklange  von 
Ossian."  The  work  was  printed  at  the  Society's  ex- 
pense, and  not  only  was  well  received  at  home,  but 
made  a  very  favorable  impression  in  Germany,  where 
it  attracted  the  personal  notice  of  Mendelssohn. 
The  latter  was  so  struck  with  Gade's  ability  that  he 
accepted  his  next  work,  the  symphony  No.  i,  in  C 
minor,  and  produced  it  at  the  Leipsic  Gewandliaus 
concerts,  of  which  he  was  then  conductor.  His 
rapidly  growing  fame  commended  him  to  the  king 
of  Denmark,  who  sent  him  to  Italy,  where  he  prose- 
cuted his  studies  until  1843,  when  he  returned  to 
Copenhagen.     The  next  year  he  had  the  lionor  of 


134 


THE  STANDARD  SYMPHONIES. 


an  appointment  as   conductor  of  the  Gewandhaus 
concerts,  and  brought  out  his  Second  symphony,  in 
E,  the   Third,  in  A  minor,  and  other  works.     He 
retained  this  position  until  1848,  when  he  returned 
to  Copenhagen  again,  where  he  devoted  himself  to 
the  organ  and  the  direction  of  the  concerts  of  the 
Musical  Union.     In  1861   he  was  appointed  Hof- 
capellmeister,  and  was  honored  with  the  title  of  Pro- 
fessor of  Music.     Since  that  time  he  has  devoted 
himself  to  composition,  and   has   produced  many 
excellent  works,  among  them  the  well-known  can- 
tatas   "Comala."    "Spring    Fantasie,"    "The    Erl 
King's  Daughter,"   "The  Holy  Night,"  "  Spring's 
Message,"  "  The  Crusaders,"  and  "  Zion,"  besides 
several  overtures  and  a  large  number  of  songs  and 
piano  pieces.     His  symphonic  works  are  seven  in 
number:  No.  i,  in  C  minor,  op.  5  ;  No.  2,  in  E, 
op.  10 ;  No.  3,  in  A  minor,  op.  15  ;  No.  4,  in  B  flat, 
op.  20 ;  No.  5,  in  D  minor  (with  piano)  op.  25  ; 
No.  6,  in  G  minor,  op.  32  ;  No.  7,  in  F,  op.  45. 

SYMPHONY  No.  1,  IN  C  MINOR.    Op.  5. 

i.  moderato  con  moto.     allegro  energico. 

2.  Scherzo.    Allegro  risoluto  quasi  presto. 

3.  Andantino  grazioso. 

4.  Finale.     Molto  allegro  con  fuoco. 

As  has  been  stated  in  the  biographical  sketch, 
Gade's  First  symphony  followed  his  famous  overture 
"  Nachklange  von  Ossian,"  and  was  written  for  the 
Gewandhaus   concerts   at    Leipsic   in    1843,   then 


THE  SYMPHONY  IX  C  MINOR. 


135 


under  the  direction  of  Mendelssohn.  The  latter 
has  left  his  impressions  of  this  first  essay  in  serious 
composition  by  the  young  Dane,  who  was  then  in 
his  twenty-sixth  year.  In  a  letter  to  his  sister, 
WTitten  at  Leipsic,  Jan.  13,  1843,  he  says  :  — 

"  We  yesterday  tried  over  a  new  symphony  by  a 
Dane  of  the  name  of  Gade,  and  we  are  to  perform  it 
in  the  course  of  the  ensuing  month.  It  has  given  me 
more  pleasure  than  any  work  I  have  seen  for  a  long 
time.  He  has  great  and  superior  talents,  and  I  wish 
you  could  hear  this  most  original,  most  earnest,  and 
sweet-sounding  Danish  symphony.  I  am  writing  him 
a  few  lines  to-day,  though  I  know  nothing  more  of  him 
than  that  he  lives  in  Copenhagen,  and  is  twenty-six 
vears  of  age ;  but  I  must  thank  him  for  the  delight  he 
has  caused  me ;  for  there  can  scarcely  be  a  greater 
than  to  hear  fine  music,  admiration  increasing  at  every 
bar,  and  a  feeling  of  congeniality.  Would  that  it 
came  less  seldom  ! " 

On  the  same  day,  as  intimated  above,  Mendels- 
sohn wrote  a  most  flattering  letter  to  Gade,  con- 
cerning the  impression  made  by  his  symphony  in 
rehearsal,  and  on  the  following  3d  of  March  ac- 
quainted him  with  the  remarkable  success  it  made 
at  the  first  public  hearing,  saying  in  his  letter  :  — 

"Your  C  minor  symphony  was  performed  for  tlie 
first  time  yesterday  at  our  eighteenth  subscription 
concert  here,  to  the  lively  and  unalloyed  delight  of 
the  whole  public,  who  broke  out  into  the  loudest 
applause  at  the  close  of  each  of  the  four  movements. 
There  was  great  excitement  among  the  audience  after 


136 


THE  STANDARD  SYMPHONIES. 


the  Scherzo,  and  the  shouting  and  clapping  of  hands 
seemed  interminable  ;  after  the  Adagio,  the  very 
same;  after  the  last,  and  after  the  first,  —  in  short, 
after  all !  ...  '  Whoever  wrote  the  last  half  of  this 
Scherzo  is  an  admirable  genius,  and  we  have  a  right 
to  expect  the  most  grand  and  glorious  works  from 
him.'  Such  was  the  universal  opinion  yesterday 
evening  in  our  orchestra  and  in  the  whole  hall,  and 
we  are  not  fickle  here." 

In  this  symphony,  as  in  his  others,  Gade  evi- 
dently sympathizes  with  the  school  of  Mendelssohn, 
but  for  all  that  the  work  is  full  of  individuality  and 
originality.  It  is  romantic  in  the  best  sense,  and  its 
romance  is  that  of  the  North.  It  reflects  the  poeti- 
cal sentiment  of  the  Sagas,  and  is  per\^aded  by  the 
influence  of  their  traditions,  as  well  as  by  the  pecul- 
iar plaintiveness  and  melancholy  of  the  Northern 
people.  In  its  w-ay  it  is  as  characteristic  of  the 
Northern  elements  of  Nature,  locahty,  and  art  as  the 
Frithjofs  Saga.  The  first  movement  opens  with 
an  Introduction,  Moderato  con  moto,  in  which 
a  graceful  melody  with  a  melancholy  background, 
given  out  by  violas  and  violins,  and  full  of  the  true 
Northern  feeling,  is  skilfully  developed  and  leads  up 
to  the  movement  proper,  Allegro  energico,  with  a 
brilliant  passage  for  horns  and  trumpets,  the  strings 
being  used  with  antiphonal  effect.  The  second 
subject,  which  has  already  been  observed  in  the 
Introduction  (Moderato),  is  announced  in  the  heroic 
manner,  after  which  the  first  is  skilfully  developed. 
The  clarinets  and  bassoons  now  give  out  a  new 


THE  SYMPHONY  IN  C  MINOR. 


137 


motive,  also  evolved  from  the  Introduction,  which, 
frequently  repeated  with  sudden  key  changes,  is 
ultimately  taken  by  full  orchestra,  and  leads  back  to 
the  theme  and  time  of  the  Moderato,  now  presented 
with  increased  energy  and  power,  the  brass  instru- 
ments carrying  the  melody,  and  the  strings  furnishing 
a  characteristic  accompaniment.  Thus  the  develop- 
ment goes  on  in  orthodox  form  to  the  end. 

The  Scherzo  is  the  most  fanciful  and  graceful 
movement  of  the  four,  and  is  the  one  which  particu- 
larly attracted  the  admiration  of  Mendelssohn,  pos- 
sibly because  it  was  so  suggestive  of  some  of  the 
strains  in  his  own  Midsummer  Night's  Dream  music. 
It  is  rhythmic  throughout,  and  its  first  theme  is 
reached  by  a  fine  crescendo.  This  theme,  with  its 
iterations,  dominates  the  movement,  for  the  second 
is  used  in  a  subordinate  way.  The  Trio  is  made 
up  of  scanty  materials,  but  they  are  used  with  great 
skill  and  always  with  a  lightsome,  fantastic  effect. 
Though  Gade  was  not  a  plagiarist  in  any  sense,  it  is 
impossible  to  listen  to  this  Scherzo  without  being 
reminded  of  Mendelssohn's  "  Midsummer  Night's 
Dream,"  for  the  same  spirit  animates  both. 

The  third  movement,  Andantino  grazioso,  is 
more  serious  in  character,  though  graceful  and  fan- 
ciful in  its  development.  The  opening  theme  is 
given  out  by  the  oboes,  with  accompaniment  of 
violas,  'cellos,  and  double-basses.  After  its  an- 
nouncement it  is  taken  by  the  first  violins  and  clari- 
nets ;  but  shortly  the  flute  announces  a  new  subject, 
and  then  the  oboe  resumes  with  a  portion  of  the 


138  THE  STANDARD  SYMPHONIES. 

first,  but  with  brighter  and  clearer  effect.  The 
remainder  of  the  movement  is  constructed  of  a 
passage  for  the  horns  and  another  for  the  'cellos, 
worked  up  in  the  usual  form. 

The  last  movement,  Molto  allegro  con  fuoco,  is 
a  masterpiece  of  brilliant  effect.  The  drums  give  a 
martial  character  to  the  Introduction,  which  leads 
up  to  a  spirited  theme  given  out  by  the  strings  in 
thrilling  style.  A  subsidiary  melody  appears  for  the 
wind  instruments  alone.  Again  the  leading  theme 
enters,  leading  forward  the  second  subject,  which  is 
now  treated  by  the  oboes,  clarinets,  bassoons,  and 
'cellos  with  a  broad  and  free  string  accompaniment. 
In  the  midst  of  this  development  the  heroic  theme 
of  the  introduction  to  the  first  movement,  com- 
bined with  the  drum  passage  of  the  last,  reappears, 
and  the  Finale  goes  on  to  its  close  with  grand  and 
steady  development. 


SYMPHONY  No.  4,  IN  B  FLAT.    Op.  20. 

1.  Allegro  vivace  e  grazioso. 

2.  Andante  con  moto. 

3.  Scherzo.     Allegro   ma    non   troppo    e   tranquil- 

LAMENTE. 

4.  Allegro  molto  vivace. 

The  Fourth  of  the  series  of  Gade's  symphonies, 
written  in  1854,  is  usually  considered  his  broadest 
and  most  dignified  work,  though  it  still  preserves 
the  Northern  color  and  sentiment  in  a  large  de- 
gree.    It  is  evident,  however,  that  in  this  symphony, 


THE  SYMPHONY  IX  B  FLAT.  i^fj 

as  well  as  in  all  its  successors,  the  composer  has 
aimed  to  produce  not  a  Scandinavian  symphony,  but 
one  that  should  be  cosmopolitan  and  firmly  based 
upon  the  classic  models  of  Haydn,  Mozart,  and 
Beethoven. 

The  symphony  opens  with  a  short  and  somewhat 
plaintive  Introduction,  leading  up  to  the  Allegro, 
the  first  theme  of  which  is  given  out  by  the  \iolins 
and  flutes.  After  brief  treatment,  a  minor  passage 
for  the  violins  prepares  the  way  for  the  second 
theme,  first  announced  by  the  'cellos  and  a  single 
horn,  and  then  joined  by  the  bassoons,  the  flutes, 
oboes,  and  clarinets,  having  a  triple  accompaniment. 
The  first  part  of  the  movement  ends  with  the  repeti- 
tion of  the  second  subject.  The  second  part  is  in 
the  nature  of  a  fantasia,  in  which  a  part  of  the  first 
theme,  and  the  minor  violin  passage,  are  combined 
with  the  leading  theme.  The  various  subjects  then 
recur  m  regular  succession,  leading  to  the  Coda,  in 
which  the  strings  tremolo  and  the  flutes  and  reeds 
in  sustained  notes  play  an  important  part.  The 
opening  phrase  is  then  treated,  and  the  movement 
comes  to  an  end  with  great  vivacity. 

The  second  movement,  Andante  con  moto,  is 
delightful  for  the  grace,  richness,  and  tenderness  of 
its  harmonized  effects,  particularly  in  the  opening 
subject,  given  out  by  the  strings  and  accompanied 
by  the  clarinets,  horns,  and  trombones  in  harmony 
of  the  most  plaintive  and  yet  thoroughly  musical 
expression.  The  second  subject,  announced  by  the 
clarinets,  accompanied  by  the  strings  in  triplets,  is 


I40  THE  STANDARD  SYMPHONIES. 

equally  beautiful  in  its  effect.  After  it  is  fully  devel- 
oped, the  first  theme  returns  in  the  minor,  charm- 
ingly varied.  The  violins  and  reeds  repeat  the 
second  theme,  and  then  a  passage  from  the  first 
acts  for  the  Coda  and  brings  the  movement  to  a 
close. 

The  Scherzo,  like  its  comrade  in  the  First  sym- 
phony, is  remarkable  for  its  sweetness,  fancy,  and 
grace.  The  first  violins  announce  the  opening  sub- 
ject, with  string  accompaniment,  through  which  are 
heard  the  low,  tender  tones  of  the  clarinets.  The 
movement  has  two  Trios,  the  first  of  which  is  based 
upon  a  delightful  folk-melody.  The  Scherzo  is 
then  repeated,  and  an  equally  beautiful  and  charac- 
teristic melody  introduces  the  second,  which  is  also 
followed  by  a  repetition  of  the  Scherzo,  the  devel- 
opment of  which,  in  connection  with  the  melody 
of  the  first  Trio,  forms  the  Coda. 

The  last  movement  is  full  of  energy  and  spirit. 
Without  introduction  or  preparation  of  any  kind, 
the  flutes  and  violins  give  out  the  vivacious  first  sub- 
ject. After  brief  treatment  two  more  melodies  are 
introduced,  either  of  which  is  bright  and  broad 
enough  to  have  served  for  a  leading  theme.  They 
lead  the  way  to  the  second  subject,  worked  up  in 
the  usual  form,  and  followed  by  the  melodious  pro- 
cession of  subjects  leading  to  a  brilliant  Coda  clos- 
ing the  symphony. 


GOETZ. 


ERMANN  GOETZ,  a  composer  of  con- 
siderable prominence,  was  born  at  Konigs- 
berg,  Dec.  1 7,  1840.  It  was  not  until  after 
his  graduation  from  the  University  at  that 
place  that  he  decided  to  enter  upon  a  musical  ca- 
reer. His  ability  in  this  direction  had  been  mani- 
fested at  a  very  early  age,  but  his  regular  study  with 
Von  Billow  and  Ulrich  was  not  begun  until  1857. 
Six  years  later  he  oljtained  a  position  as  organist  at 
Winterthur,  gave  music  lessons,  and  in  other  ways 
connected  with  his  vocation  managed  to  support 
himself  and  find  opportunities  for  composition.  His 
first  important  work,  and  the  one  by  which  he  is 
best  known,  "  Der  Widerspanstigen  Zahmung,"  an 
adaptation  of  Shakspeare's  "  Taming  of  the  Shrew," 
was  produced  at  Mannheim,  Oct.  1 1,  1874,  and  met 
with  a  success  so  emphatic  that  it  was  soon  a  favor- 
ite in  most  of  the  German  cities.  The  symphony 
in  F  followed  the  opera,  and  was  also  successful. 
Goetz  then  began  his  second  opera,  "  Franccsca  di 


142 


THE  STANDARD  SYMPHONIES. 


Rimini,"  but  did  not  live  to  complete  it.  He  had 
finished  the  first  two  acts  and  sketched  out  the 
third  so  fully  that,  through  the  services  of  a  friend  to 
whom  he  intrusted  its  completion,  it  was  performed 
after  his  death  and  met  with  a  success  almost  equal 
to  that  of  his  first  dramatic  work.  He  died  in 
Switzerland,  Dec.  3,  1876,  in  his  thirty-sixth  year, 
full  of  promise  and  giving  every  indication  that  he 
would  have  made  a  conspicuous  place  for  himself 
among  the  modern  composers  had  his  life  been 
spared. 

SYMPHONY  No.  1,  IN  T.    Op.  9. 

1    Allegro  moderato. 

2.  Intermezzo. 

3.  Adagio,  ma  non  troppo  lento. 

4.  Finale. 

The  symphony  in  F,  the  only  work  of  this  class  by 
Goetz,  was  written  in  1876.  It  has  enjoyed  great 
popularity  in  Europe,  and  has  also  been  produced 
in  this  country  with  conspicuous  success,  although 
the  composer's  fame  had  not  preceded  him,  except 
as  the  author  of  "  The  Taming  of  the  Shrew."  Its 
opening  movement,  Allegro  moderato,  is  perhaps 
the  most  effective,  though  not  the  most  popular. 
Without  mtroduction  the  horns  give  out  the  first 
subject,  afterward  reinforced  by  the  clarinets,  —  a 
theme  of  very  romantic  character,  flowing  on  in  a 
broad  and  serious  manner,  with  striking  alternations 
of  expression,  as  the  mood  changes  from  gladness 


THE  SYMPHONY  IN  F.  143 

to  sadness.  The  second  theme  is  more  cheerful, 
and  maintains  throughout  a  strong,  hopeful,  and 
healthy  feeling.  It  is  introduced  by  the  flutes 
and  oboes,  and  at  the  close  of  its  treatment  the 
opening  theme  recurs  and  is  finely  developed  until 
a  marked  crescendo  at  last  brings  the  movement  to 
a  brilliant  conclusion. 

The  second  movement,  Intermezzo,  is  full  of 
charming  effects,  and  will  always  be  a  prime  favorite. 
It  is  thoroughly  original  in  form  and  treatment,  and 
its  contents  are  bright,  cheerful,  and  joyous.  It 
opens  with  an  effective  theme  for  the  horns,  to 
which  the  wood  winds  reply  with  another  melodious 
passage,  which  is  delightful  for  its  piquant  delicacy 
and  beauty,  and  is  subsequently  taken  up  and  de- 
veloped by  the  violins.  A  brilliant  flute  cadence 
leads  into  the  second  part  of  the  movement,  which 
is  introduced  by  a  quiet  but  happy  theme  announced 
by  the  flutes  and  afterward  sung  by  the  'cellos, 
second  violins,  and  bassoons.  These  ideas  are  skil- 
fully developed,  and  after  a  charming  episode  which 
takes  the  place  of  the  Trio,  the  movement  closes 
with  an  effect  in  broad,  free  harmony  which  is 
peculiarly  noticeable  for  its  naivete  and  childlike 
serenity. 

The  third  movement.  Adagio,  though  differing  in 
form,  has  a  close  sentimental  connection  with  the 
Intermezzo.  The  'cellos  and  violas  announce  its 
opening,  and  are  succeeded  by  the  wood  winds  in  a 
theme  which  is  peculiarly  happy  in  treatment.  In 
the  second  part  of  the  movement  the  horns,  with 


144 


THE  STANDARD  SYMPHONIES. 


string  accompaniment,  give  out  the  leading  subject, 
which  is  still  further  developed  by  the  wood  winds. 
In  the  close  of  the  movement,  which  is  in  the  nature 
of  a  free  fantasie,  the  strings  are  used  with  telling 
effect,  especially  in  working  up  to  the  climax ;  and 
thus  with  real  power,  sometimes  of  the  most  pas- 
sionate description,  the  work  moves  on  to  the  Finale, 
the  opening  theme  of  which  is  given  out  by  the 
vioHns.  This  movement  is  developed  with  great 
vigor,  and  culminates  in  an  expression  of  pathos  and 
passion  which  of  itself  is  a  sufficient  indication  of  the 
success  this  brilliant  composer  might  have  achieved 
as  a  symphony  writer  had  not  death  cut  him  down 
on  the  very  threshold  of  his  career. 


GOLDMARK. 


\RL  GOLDMARK  was  born  May  i8, 1832, 
at  Keszthcly  in  Hungary,  and  received  his 
elementary  musical  education  from  Jansa, 
the  violinist,  at  the  Vienna  Conservatory.  It 
was  not  long,  however,  before  he  abandoned  the  violin 
and  began  the  study  of  composition,  and  with  the 
assistance  of  Hellmesberger  brought  out  some  mi- 
nor works  with  success.  He  has  devoted  himself 
to  this  branch  of  work  for  many  years  past.  He  is 
well  known,  not  only  in  Europe,  but  also  in  this 
country,  by  his  charming  "  Sakuntala"  overture,  his 
operas,  the  "  Queen  of  Sheba  "  and  "  Merlin,"  and 
the  first  of  his  symphonies,  the  "  Laendliche  Hoch- 
zeit,"  or  "  Country  Wedding."  A  second  symphony 
has  recently  appeared,  and  has  also  been  heard  in 
this  country,  though  it  is  not  yet  familiar.  It  is  in  E 
flat,  and  unlike  the  "  Country  Wedding,"  which  is 
in  the  nature  of  a  suite,  adheres  strictly  to  the 
sonata  form. 

10 


146    THE  STANDARD  SYMPHONIES. 


LAENDLICHE    HOCHZEIT     (COUNTBY    WEDDING) 
SYMPHONY. 

1.  MoDERATO  MOLTO.     (Wedding  March  with  Variations.) 

2.  Allegretto.    (Bridal  Song.) 

3.  Allegretto  moderato  scherzando.    (Serenade.) 

4.  Andante.     (In  the  Garden.) 

5.  Finale,  allegro  molto.    (Dance.) 

The  Country  Wedding  symphony,  written  in 
1876,  was  first  performed  in  that  year  at  Vienna, 
where  it  met  with  a  decided  popular  success.  Since 
that  time  it  has  become  equally  popular  in  England 
and  this  country.  Its  brightness,  freshness,  and  pe- 
culiarly close  interpretation  of  the  programme  which 
it  represents  will  always  make  it  a  favorite  among 
concert-goers.  Strictly  speaking,  it  is  not  in  the 
sonata  form,  though  the  composer  has  divided  it 
into  the  conventional  movements  and  sought  to  pre- 
serve the  classic  framework  of  the  symphony  proper, 
and  hence  cannot  justly  be  called  a  symphony.  It 
is  rather  a  suite  or  series  of  musical  pictures,  in- 
tended to  illustrate  the  programme  contained  in  its 
title ;  and  this  it  does,  not  only  with  absolute  fidel- 
ity, but  with  genuine  musical  skill  and  happiness 
of  expression.  It  is  a  series  of  charming  fancies 
woven  and  held  together  by  the  slightest  of  sym- 
phonic threads.  Its  programme  is  a  sketch  of  a 
country  wedding.  The  march  and  procession,  the 
nuptial  song,  which  we  may  imagine  sung  by  the 
friends  of  the  happy  pair,  the  inevitable  serenade, 
the  discourse  of  the  lovers  in  a  garden,  interrupted 


COUNTRY  WEDDING  SYMPHONY.       j^y 

by  the  entrance  of  friends  whose  greetings  lead  up 
to  a  genuine  country  dance  in  the  Finale,  are  the 
various  scenes  in  this  series  of  cheerful  pastoral 
pictures. 

The  various  movements  are  so  characteristic  and 
tell  their  story  so  simply  and  unmistakably  to  the 
hearer  that  they  hardly  need  detailed  analysis.     The 
first  is  a  most  decided  innovation,  and  at  once  an- 
nounces that  the  work  is  not  in  the  usual  symphonic 
form.     It  is  a  march  with  thirteen  variations,  in  which 
the  theme   only  appears  in  fragments.     They  are 
scored  in  the  freest  possible  manner,  the  composer 
evidently  not   wishing   to   restrict   himself  to   the 
march  form.     The  theme,  which  is  very  simple  and 
yet  quite  impressive,  enters  upon  the  'cellos  and 
basses  alone  in  a  very  quiet  manner,  and  without 
any  of  the  stir  and  brilliancy  which  usually  charac- 
terize  the   march.     Then  follow  the  variations  in 
regular  order.     The  first  horn,  with  an  accompani- 
ment by  the  other  horns  and  a  moving  bass  in  the 
strings,  followed  by  a  new  melody  for  clarinets  and 
flutes,  takes  the  first  variation.     The  violins  give  the 
second  in  a  very  animated  manner,  and  the  full  or- 
chestra sweeps  in  on  the  third  with  the  utmost  viva- 
city and  good  feeling.     The  strings  again  take  the 
fourth,  but  the  mood  changes  to  a  tender  and  very 
expressive  minor.     In  the  fifth  the  theme  returns  to 
the  basses,  assisted  by  bassoons  and  horns.     The 
sixth  is  also  assigned  to  the  basses,  the  flutes  and  vi- 
olins weaving  a  very  fanciful  accompaniment  around 
the  theme.     The  seventh  is  in  the  minor,  and  is 


14S    THE  STANDARD  SYMPHONIES. 

very  quaintly  written,  the  utmost  freedom  being  al- 
lowed to  all  the  instruments.  The  eighth  is  divided 
between  the  first  violins,  flutes,  oboes,  and  clari- 
nets. In  the  ninth  the  theme  is  suggested  in  the 
bass,  reinforced  by  a  new  subject  for  flute  and  vio- 
lin. In  the  tenth  the  first  violin  introduces  a  fanciful 
figure  with  the  theme  appearing  in  the  basses  and 
strings.  The  eleventh,  in  the  minor,  is  charac- 
terized by  an  entirely  fresh  subject,  assigned  to 
the  violin  and  oboe,  then  to  clarinet  and  violin, 
and  finally  to  the  clarinet.  The  twelfth  introduces 
another  new  theme,  growing  out  of  the  first,  an- 
nounced by  the  oboe  with  bassoon  accompaniment, 
the  flutes  and  clarinets  moving  independently,  and 
the  violins  and  violas  enhancing  the  effect  in  a  very 
quaint  manner.  With  the  thirteenth,  which  returns 
to  the  original  tempo,  the  charming  series  closes. 
Though  treated  very  freely  and  fancifully,  they 
never  lose  the   "  country "  spirit  of  the  work. 

The  second  movement,  "Bridal  Song,"  is  a  charm- 
ing melody  in  genuine  aria  form  in  which  the  oboe 
is  prominent,  the  subject  of  the  march  being  heard 
in  the  basses.  It  is  short,  but  very  graceful  and 
delicate,  and  admirably  fills  its  place  in  the  fanciful 
scheme  of  the  work. 

The  third  movement,  "  Serenade,"  comes  nearer 
to  the  sonata  form,  and  yet  preserves  the  pastoral 
characteristics  throughout.  The  prelude  is  some- 
what elaborate,  and  leads  up  to  a  melody  for  the 
oboes,  which  is  afterward  worked  up  by  the  violins 
and  other  instruments. 


COUNTRY  WEDDING  SYMPHONY.       149 

The  fourth  movement,  "  In  the  Garden,"  is  a 
charming  picture  of  the  lovers  tenderly  conversing 
with  each  other  and  exchanging  vows  of  constancy 
and  passionate  utterances.  It  is  a  dreamy  epi- 
sode with  alluring  bits  of  color,  at  times,  as  in  the 
solo  for  clarinet,  rising  to  the  very  intensity  of  pas- 
sion, while  in  the  middle  part  occurs  a  genuine  love 
dialogue. 

The  scene  now  changes,  and  in  the  final  move- 
ment we  have  the  dance.  Oddly  enough,  its  prin- 
cipal theme  is  in  fugal  form,  led  off  by  the  second 
violins,  the  first  coming  in  last.  It  is  very  brilliant 
and  picturesque  in  its  effect,  and  contains  many 
charming  episodes,  among  them  a  return  to  the 
garden  music  in  the  middle  part. 


£> 


HAYDN. 


nOSEPH  HAYDN  was  the  creator  of  the 
symphony  in  its  present  form.  The 
manner  in  which  he  developed  it  from 
the  sonata  form,  broadened  and  inten- 
sified the  contemplative  mood  of  the  latter,  and 
the  new  freedom,  vivacity,  and  individuality  which 
he  imparted  to  the  instruments,  as  well  as  the  union 
of  absolute  with  dramatic  music  in  the  symphony 
by  which  he  gave  expression  to  the  episodes  of 
Nature  and  the  phases  of  human  life,  have  already 
been  indicated  in  the  preliminary  essay  to  this 
volume,  so  that  it  only  remains  to  give  a  brief 
sketch  of  his  symphonic  career.  Haydn  was  born 
in  1732,  In  1759  Count  Morzin,  a  Bohemian 
nobleman,  who  passed  his  winters  in  Vienna  and 
his  summers  at  his  country  seat  in  Lukavec,  where 
he  kept  his  orchestra,  appointed  him  his  musical 
director  and  chamber  composer.  It  was  in  his  ser- 
vice that  he  wrote  his  First  symphony,  in  D  major, — 
a  small  work  in  three  movements,  for  two  violins, 


HA  YDN. 


151 


viola,  bass,  two  oboes,  and  two  horns.  Two  years 
later  Count  Morzin  broke  up  his  establishment ; 
and  the  noble  patron  of  art,  Count  Esterhazy, 
secured  the  services  of  Haydn,  who  remained  with 
the  family  nearly  all  the  rest  of  his  life.  The  first 
of  the  Esterhazy  symphonies  was  that  in  C  major, 
known  as  "  Noon,"  which  was  speedily  followed 
by  the  "  Morning  "  symphony  and  a  concerto  called 
"  Evening."  His  connection  with  the  Esterhazy 
orchestra  was  not  terminated  until  1 790,  and  during 
these  twenty-nine  years  he  composed  eighty  sym- 
phonies, besides  an  immense  number  of  other  vocal 
and  instrumental  works.  In  the  above  year  he 
went  to  London  with  Salomon  under  contract  to 
give  a  series  of  concerts,  which  met  with  such  an 
extraordinary  success  that  he  made  a  second  visit 
in  1 792.  During  these  two  seasons  he  wrote  twelve 
symphonies,  known  as  the  Salomon  set.  The  au- 
thorities differ  as  to  the  total  number  of  his  works 
of  this  class.  Haydn  himself  catalogued  118,  but 
it  is  known  that  his  list  was  incomplete.  His 
personal  friend  Bombet  fixes  the  number  at  180, 
and  Grove  at  125.  Other  writers  place  the  num- 
ber at  156.  The  discrepancy  evidently  grows  out 
of  the  difficulty  of  accurate  definition,  as  some  of 
his  works  entitled  symphonies  can  hardly  be  classed 
as  such  in  the  modern  acceptation  of  the  term. 
It  is  only  a  limited  number  that  have  held  their 
place  in  the  concert-room,  including  principally 
the  Parisian  set  and  the  twelve  written  for  Salomon. 
Those  best  known  have  been  selected  for  analysis, 


152 


THE  STANDARD  SYMPHONIES. 


their  numbering  following  the  Breitkopf  and  Hartel 
arrangement,  although  the  individuality  of  an  or- 
chestral conductor  may  bring  any  of  them  into 
particular  prominence. 


SYMPHONY  No.  1  (B.  &<  H.),  IN  E  FLAT. 

1.  .^DAGio.    Allegro  con  spirito. 

2.  Andante. 

3.  Minuet. 

4.  Finale.    Presto. 

The  symphony  in  E  flat  was  composed  in  1795, 
and  is  the  eighth  in  the  set  written  for  Salomon, 
and  the  first  of  the  Breitkopf  and  Hartel  edition- 
It  opens  with  an  Adagio,  introduced  by  a  roll  on 
the  kettle-drum,  with  the  following  theme  :  — 

'Cello,  Bass,  and  Fagotto.  ^ 


A  dagio. 


^1  UU-^IV*  j 


k 


^ 


This  broad  and  sombre  melody  gives  the  key  to 
the  whole  work,  and  shows  us  the  composer  in  a 
somewhat  serious  mood.  It  ends  in  a  unison 
phrase  in  C  minor,  in  a  half-mysterious  way  on  G, 
the  fifth  of  the  chord.  Then  enters  the  Allegro 
con  spirito,  in  g  time,  with  the  following  theme  : 


t 


rLUVJL^rcl^^"--ir^-^ 


^ 


n 


-etc. 


The  half-step  in  the  first  group,  forced  in  the 
repetition  by  an   accidental,  keeps  the   otherwise 


THE  SYMPHONY  IN  E  FLAT.  153 

humorous  theme  within  bounds  ;  and  the  sforzando 
strokes,  as  well  as  the  fortissimo  unison  passage  at 
the  end  of  the  first  part,  show  how  seriously  the 
master  took  his  work.  The  second  part  is  worked 
up  in  strict  compliance  with  the  sonata  form,  and 
displays  Haydn's  mastery  in  counterpoint.  After 
a  hold,  the  basses  take  up  the  melody  of  the  open- 
ing Adagio,  pressed  into  the  new  mould  of  the  | 
tempo.  This  middle  movement  is  again  interrupted 
by  a  hold,  followed  by  the  working-out  of  the 
second  theme  and  closing  on  the  dominant  seventh 
chord  and  a  grand  pause,  after  which  the  first  part 
is  repeated.  At  the  halfcadence  the  opening 
Adagio  unexpectedly  enters  with  its  solemn  roll  of 
the  drum  and  deep-toned  melody,  followed  by  a 
short  Coda,  allegro.  This  procedure  shows  how 
serious  the  man  who  wrote  the  Children's  sym- 
phony could  be  when  in  the  mood. 

The  Andante,  in  C  minor,  \  time,  opens  with  the 
following  melody  :  — 


^■ijj^i.nj^3s^^ 


The  first  bar,  with  its  C,  E  flat,  F  sharp,  has  a  vein 
of  inexpressibly  sad  loveliness  which  also  pervades 
the  whole  song,  as  it  may  be  called.  When  in  the 
third  part,  or  the  Maggiore  in  C  major,  the  sky 
brightens,  it  is  interesting  to  see  how  simply  the 
composer  accomplishes  his  purpose  by  filling  up 
the  third,  C,  E,  and  enlivening  the  rhythm  in  this 
way  :  — 


154 


THE  STANDARD  SYMPHONIES. 


sf 


T^ 


^m 


:^ 


^/" 


IOC 


^ 


-*— r- 


^1^ 


The  Minore  and  the  Maggiore  are  then  repeated 
in  the  form  of  variations,  exquisitely  worked  out. 
The  third  variation,  in  C  minor,  is  scored  for  full 
orchestra,  and  is  one  of  the  many  examples  we 
find  in  Haydn  which  show  that  the  minor  mood  or 
minor  key  was  for  him  rather  the  expression  of  the 
grand  and  heroic  than  of  sadness  or  sorrow.  The 
Coda,  in  its  simplicity,  however,  shows  the  sad  un- 
dercurrent of  his  thought  while  writing  this  lovely 
Andante,  although  tlie  close  is  in  the  major  key. 

The  Minuet,  with  the  following  theme,  — 


^^^f»ft^ 


T=^=^ 


rTi  J^i.4J^ 


^^^a^^cj^^g 


i-l»  '1/ 1  i 


reaches  far  higher  than  the  dance  form,  and  its 
working-up  in  the  second  part  is  unusually  rich  in 
harmonic  treatment.  The  Trio  contains  the  flowing 
legato  figures  which  Haydn  so  often  used  to  offset 
the  broken  rhythm  and  skipping  melody  of  the 
minuet   proper. 

The  Finale,  in  E  flat,  is  founded  on  the  following 
theme,  with  underlying  figure  for  horns,  as  marked  : 


■  ^  V 9 >-^ 1-&: 1*     I     M 


f 


rr 


It  is  broad  in  treatment,  and  often  reminds  us 
of  Mozart.  The  whole  movement  is  symphonic 
in  character,  and  shows  little  of  the  playfulness  we 
are  wont  to  look  for  in  Haydn's  compositions. 


THE  SYMPHONY  IN  D  MAJOR.  155 


SYMPHONY  No.  2  (B.  &  H.),  IN  D  MAJOE. 

1.  Adagio.     Allegro. 

2.  Andante. 

3.  Minuet. 

4.  Finale.    Allegro  spiritoso. 

The  symphony  in  D  major  —  No.  7  of  the  Salo- 
mon set ;  No.  2,  Breitkopf  and  Hartel — was  written 
in  1 795.  It  has  the  usual  Adagio  introduction,  in 
D  minor,  with  a  theme  as  weighty  and  bold  as 
anything  we  admire  in  Beethoven,  closing  on  the 
dominant  pianissimo  and  leading  into  the  Allegro 
with  the  following  theme  :  — 


Allegro. 


The  second  theme  of  the  first  movement,  in  the 
key  of  A,  appears  only  once.  In  the  working-up 
of  the  second  part,  the  composer  utilizes  the  four 
quarter-beats  followed  by  two  half-notes,  given 
above,  as  a  separate  motive,  which  by  its  more 
decisive  character  imparts  to  the  whole  movement 
a  certain  brusqueness  and  force. 

The   Andante,  in  G  major,  \  time,  is   based   on 
the  following  lovely  song  written  in  a  popular  vein, 

A  ndante. 


WW^ 


-*-^ 


*/ 


^ 


^^^ 


ii. 


*-&- 


and  treated  in  the  form  of  variations  ;  not,  however, 
in  the  usual  strict  manner,  but  interspersed  with 
significant  and  deeply  effective  intermezzos,  show- 


156 


THE  STANDARD  SYMPHONIES. 


ing  with  what  perfect  freedom  the  genius  of  the 
master  soared  above  conventional  forms.  The 
second  part  of  the  melody  proceeds  with  the  fol- 
lowing tuneful  counterpoint,  using  the  opening  bars 
of  the  Andante  for  an  accompaniment :  — 


^ 


g;-rd%^^^^ 


L3 

The  Minuet,  in  D  major,  is  very  energetic  in 
character,  owing  to  its  pecuhar  accentuation,  as 
well  as  strong  harmony,  and  yet  preserves  the 
humor  and  piquancy  of  the  master's  most  favorite 
movements  in  a  wonderful  degree.  The  Trio  has 
the  same  character,  in  its  contrast  to  the  Minuet 
proper,  as  that  in  the  E  flat  symphony. 

The  Finale,  in  D  major.  Allegro  spiritoso,  has 
a  flavor  of  country  life  and  its  enjoyments.  It 
begins  on  a  pedal  bass  for  horns  and  'cellos,  over 
which  runs  the  most  natural,  simple  song,  —  a  happy- 
go-lucky  air,— which  however  gives  free  play  to  the 
master's  art  in  counterpoint.  We  select  only  a  few- 
bars  in  which  he  combines  three  melodies  over 
a  pedal  point  in  the  most  masterly  manner :  — 


^k 


4. 


-5S  J 


jL 


1 


f 


^ 


r 


I2ZI 


$1: 


rrril  1    J. 


THE  SYMPHONY  IN  G  MAJOR. 


157 


SYMPHONY  No.  6  (B.  &-  H.),  IN  G  MAJOR  (SUEPEISE). 

1.  Adagio.    Vivace  assai. 

2.  Andante. 

3.  Minuet. 

4.  Finale.     Allegro  molto. 

The  symphony  in  G  major,  popularly  known  as 
"  The  Surprise,"  —  No.  3  of  the  Salomon  set ;  No.  6, 
Breitkopf  and  Hiirtel,  —  was  written  in  1791.  It 
has  a  short  introductory  Adagio,  in  which  an  unusual 
number  of  chromatics  are  employed,  leading  at 
once  into  the  main  Vivace  assai,  %  time,  with  the 
followin^r  for  the  first  theme  :  — 


^^^^ 


Daintily  as  it  steps  in,  it  soon  develops  into  the 
full  rush  of  life,  beginning  at  the  figure  of  sixteenth, 
the  working-up  of  the  theme,  however,  being  chiefly 
based  on  a  group  of  eighth  notes  at  the  beginning. 

The  .Andante,  in  C  major,  the  movement  which 
gave  the  name  of  "  Surprise  "  to  the  symphony,  is 
based  on  this  exceedingly  simple  melody,  moving 
through  the  intervals  of  the  chord  :  — 


-r-r 


i 


■9—9 


?^^ 


It  opens  piano,  is  repeated  pianissimo,  and  closes 
with  an  unexpected  crash  of  the  whole  orchestra. 
Here  we  have  the  genial  "Papa  Haydn,"  who 
enjoyed  a  joke,  and  when  in  the  humor  for  it  did 
not  think  it   beneath   his   dignity  "  to  score "  the 


158  THE  STANDARD  SYMPHONIES. 

joke ;  for  to  a  friend,  who  was  visiting  him  when 
writing  the  Andante,  he  remarked  :  "  That 's  sure 
to  make  the  ladies  jump  ;  "  and  his  waggish  purpose 
has  been  secured  to  this  day.  The  theme  is  car- 
ried out  in  his  favorite  form  of  variations,  and  the 
movement  closes  with  a  pedal  point  giving  the 
opening  phrase  and  dying  away  in  a  pianissimo. 

The  Minuet  seems  the  natural  sequence  of  this 
extremely  simple  Andante.  The  sweep  of  the  vio- 
lins in  the  last  two  measures  of  the  first  part  is 
made  the  motive  for  the  second  part,  which  is 
used  in  canon  form  between  the  violins  and  basses 
and  connected  with  the  Trio,  written  in  the  usual 
manner. 

The  last  movement.  Allegro  molto,  in  G  major, 
4  time,  has  this  happy  theme  for  its  foundation  : 

A  Uegro  di  Miolto.  ^ 


The  piquancy  of  its  phrasing  is  in  the  master's 
happiest  vein,  and  although  worked  out  with  less 
display  of  science  than  some  of  his  other  finales, 
it  gathers  new  interest  by  the  rushing  violin  figures 
that  are  used  quite  lavishly  and  fully  sustain  its 
joyful  character.  Haydn  also  introduces  some 
finely  conceived  harmonic  surprises,  when  he  follows 
a  half-cadence  on  D  major  with  the  quarter  strokes 
on  C  natural,  pianissimo,  as  well  as  rhythmic,  by 
the  introduction  of  a  grand  pause,  which  he  uses 
twice. 


THE  SYMPHONY  IN  C  MINOR. 


159 


SYMPHONY  No.  9  (B.  &,  H.),  IN  C  MINOK. 


1.  Allegro. 

2.  Andante. 

3.  Minuet. 

4.  Finale.     Vivace. 


The  symphony  in  C  minor  —  No.  5  of  the  Salomon 
set ;  Breitkopf  and  Hartel,  No.  9  —  opens  at  once 
with  an  Allegro  in  common  time  :  — 


f 


'?r  ^  fi 


^ 


f3  :^-*-     ^^  ■*■ 


*=M=^ 


f  # 

The  bold  steps  at  the  opening  and  the  march-like 
rhythm  of  the  third  and  fourth  measures,  although 
subdued  in  a  dynamic  sense,  and  never  used  in 
a  military  mood,  give  the  movement  a  certain  crisp- 
ness  which  is  effectively  offset  by  the  second  theme  : 


This  is  followed  by  scale  runs  in  triplets,  that  alter- 
nate between  the  higher  and  lower  instrumental 
groups  and  well  preserve  the  strong  character  of 
the  otherwise  short  movement.  Though  brief,  it  is 
especially  interesting  as  showing  plainly  the  influence 
of  the  younger  master,  Mozart,  and  at  times  re- 
minds us  of  the  latter's  C  minor  Fantasie. 

The  Andante  cantabile,  in   E   flat,  in  its  idyllic 
theme  — 

A  ndante.        _  , . 


^ 


^m 


^f. 


SSt 


i6o 


THE  STANDARD  SYMPHONIES. 


betrays  the  composer  of  "  With  Verdure  Clad,"  and 
vies  with  that  well-known  melody  in  sweetness.  It 
is  worked  out  in  a  number  of  variations,  among 
which  the  one  in  E  flat  minor  is  especially  notice- 
able. 

The  Minuet  is  one  of  the  popular  concert  num- 
bers, and  is  a  masterly  specimen  of  grace  and 
refined  humor,  combined  with  the  stateliness  of  the 
old-fashioned  dance.     Its  theme  is  the  following : 


^  / 

The  Trio  varies  from  many  of  the  previous  ones 

in    that   the   movement   of    eighth   notes   appears 

staccato   throughout,  and   is   given   to   the  'cellos, 

the  violins  only  marking  the  rhythm. 

The    Finale  vivace,  in   C  major,  is  very  rich  in 

the  treatment  of  counterpoint  and  fugue ;    but   a 

glance  at  the  leading  theme  — 

Vivace. 


will  show  at  once  that  we  have  nothing  to  fear  in 
the  way  of  dry  or  heavy  music.  The  general 
treatment  reminds  us  of  his  earlier  symphonies, 
but  much  of  it  also  shows  the  influence  of  Mozart. 


THE  SYMPHONY  IN  G  MAJOR. 


l6i 


SYMPHONY  No.  11  (B.  &-  H.)   (MILITARY),  IN  G  MAJOR. 

1.  Largo.  Allegro. 

2.  Allegretto. 

3.  Minuet. 

4.  Finale.    Presto. 

The  symphony  in  G  major  —  No.  12  of  the  Salo- 
mon set,  and  No.  11  of  the  Breitkopf  and  Hartel 
edition  —  was  written  in  1794.  It  opens  with  a  slow 
movement  of  broad  and  even  pathetic  character, 
closing  on  the  dominant  chord  with  a  hold.  The 
first  movement  proper,  Allegro,  starts  in  with  the 
following  theme,  given  out  by  the  flutes  and  oboes  : 


?fi-rr%-Kfi4^j#^#r?gg|±^ 


5=3= 


and  is  repeated  in  ever  new  instrumental  com- 
binations, leading  into  a  play  of  questions  and 
answers  between  wind  and  string  instruments, 
which  Haydn's  successors  have  made  use  of  so 
often.     After  the  half-cadence,  the  second  theme  — 


!f|f£rff|rrrff^ 


enters  piano.  In  spirit  it  is  a  lively  march,  and 
although  at  its  first  appearance  it  is  quite  subdued, 
the  staccato  marks  relieve  any  uncertainty  as  to  its 
meaning.  The  working-up  in  the  second  part  relies 
chiefly  on  this  second  theme  ;  and  when  the  double- 
basses  take  it  up,  it  rises  to  its  full  importance. 
The  greater  length  of  the  movement,  its  ingenious 
harmonic  treatment,  the  stubborn  character  in  the 


II 


1 62    THE  STANDARD  SYMPHONIES. 

sforzando  strokes  after  the  second  theme  appears 
fortissimo,  the  crisp  staccato  scales  in  broken  thirds 
in  the  violins,  stamp  this  Allegro  as  one  of  the  most 
important  the  master  has  left  us,  and  establish  his 
fame  as  the  worthy  predecessor  of  Beethoven. 

The  Allegretto,  in  C  major,  which  here  takes  the 
place  of  the  usual  Andante,  has  given  to  this  sym- 
phony the  name  of  "  The  Military  "  and  is  based 
on  an  old  French  romanza :  — 


ri^r^-ffT^^^nrnLnUg 


In  its  treatment  of  interchanging  instrumental 
groups,  and  in  its  quiet  yet  cheerful  movement,  it 
sounds  like  the  last  farewells  of  soldiers  as  they 
take  leave  of  their  beloved  homes.  Haydn  displays 
a  wonderful  mastery  in  the  dynamic  treatment, 
which  in  this  movement  serves  almost  exclusively 
to  bring  out  the  ever-changing  character  of  the 
theme.  After  several  repeats,  the  trumpets  sound 
the  signal  for  falling  into  line,  and  with  a  few  strong 
chords  in  the  key  of  A  flat,  the  march  is  resumed. 
Observe  also  the  masterly  use  which  the  composer 
has  made  of  the  drums,  cymbals,  and  triangle,  in 
the  various  repeats  of  this  simple  theme,  relying 
almost  entirely  on  the  tone-colors  of  the  different 
orchestral  instruments  and  their  combination  for 
the  maintaining  of  the  interest  in  the  simple  march 
theme. 

The  Minuet,  moderate,  in  its  form  comes  nearer 
the  dance  minuet  in  graceful  groups  of  violin  figures 


THE  SYMPHONY  IN  B  FLAT. 


163 


than  any  we  have  considered ;  while  the  Trio  is 
worked  up  in  a  more  distinct  character  than  usual, 
and  with  its  dotted  rhythm  remains  nearer  the 
original  dance  than  the  legato  trios  of  former 
symphonies. 

The    last   movement,    Presto,   in  |  time,   is    in 
Haydn's  happiest  vein.     Its  theme  — 


is  playful  and  charming,  and  the  whole  Finale, 
although  not  devoid  of  more  forcible  intermezzos, 
broken  by  unexpected  pauses,  and  elaborate  treat- 
ment in  harmonic  changes,  moves  along  in  a  happy 
and  natural  manner,  while  in  conciseness  of  ex- 
pression  it   is   a  model   of  brevity. 


SYMPHONY  No.  12  (B.  &.  H.),  IN  B  FLAT. 

1.  Largo.    Allegro. 

2.  Adagio. 

3.  Minuet. 

4.  Finale.    Presto. 

The  symphony  in  B  flat,  written  in  1 794,  is  the 
ninth  in  the  Salomon  set,  and  No.  12  of  the  Breit- 
kopf  and  Hiirtel  edition.  A  short  Largo  opens 
pompously  with  a  hold  on  the  keynote,  followed  by 
a  phrase  for  wind  instruments  reflecting  the  sadness 
of  the  whole  Introduction.  The  first  movement. 
Allegro  vivace,  brings  in  the  main  theme  — 


Allegro. 


g^^^^a 


1 64     THE  STANDARD  SYMPHONIES. 

at  once  fortissimo  by  the  whole  orchestra,  and 
reversing  the  order  to  repeat,  appears  as  a  piano 
phrase.  This  is  followed  by  a  Hvely  figure  for  vio- 
lins through  sixteen  measures,  working  up  into  a 
fine  crescendo  fortissimo  that  reaches  its  climax  on 
a  whole  note  on  A  in  unison,  and  with  the  grand 
pause  following  prepares  the  entrance  of  the  second 
theme  in  A  major,  as  follows  :  — 

J2. 


f 


i; 


^'^M^IiP^^^gi^g 


^ 


g        #-      — X  ff 

This,  with  several  other  shorter  themes,  furnishes 
the  material  for  the  working-up  of  the  second  part, 
and  shows  the  composer's  extraordinary  power  of 
invention  and  combination.  The  whole  scheme  is 
broader  than  usual.  The  rhythmic,  harmonic,  and 
dynamic  changes  form  a  picture  of  real  hfe,  pulsat- 
ing with  vital  force,  and  this  symphony,  Haydn's 
last  tribute  to  his  friend  Salomon,  was  by  no  means 
the  least  of  the  series. 

The  Adagio  in  F  major,  |  time,  is  comparatively 
short,  and  has  Italian  touches  of  elegance  in  the 
rich  ornamentation  with  which  the  melody  is  em- 
bellished. In  character  it  leaves  the  popular  vein 
which  Haydn's  slow  movements  generally  show,  and 
leans  more  toward  the  elegiac  and  sentimental. 

The  Minuet,  although  its  first  part  inclines  toward 
the  dance  form,  assumes  a  style  of  its  own  by  the 
stubborn  assertion  of  a  group  of  three  notes  in  repeat, 
leading  to  a  hold,  after  which  a  playful  treatment  of 
the   same   motive    brings  us  back  to  the   original 


THE  SYMPHONY  IN  B  FLA  T. 


i6s 


theme.  The  Trio  also  differs  from  many  of  Haydn's, 
its  rocking  movement  and  tender  chromatics  re- 
minding us  of  Schubert. 

The  Finale,  in  B  flat,  Presto,  |  time,  opens  with 
the  following  gay  song,  — 

PreHo. 


^ 


^ 


^ 


i^^ 


which  flows  along  without  intemiption,  for  even  the 
occasional  attempts  at  stubbornness  have  an  under- 
current of  jollity.  The  composer's  fancy  for  the 
humorous  and  playful  side  of  life  finds  free  swing  in 
this  Finale.  Syncopations,  pianissimo  staccatos, 
unexpected  pauses,  clashes  of  the  full  orchestra, 
sudden  transitions  of  key,  the  playful  use  of  parts  of 
a  motive,  etc.,  combine  in  making  a  picture  of  hap- 
piness and  joyous  life  for  which  we  may  well  envy 
the  composer  in  his  sixty-second  year. 


HOFMANN. 

EINRICH  KARL  JOHANN  HOFMANN 

was  born  Jan.  13,  1842,  at  Berlin.  In 
his  younger  days  he  was  a  scholar  at  the 
Kullak  Conservatory,  and  studied  com- 
position with  Grell,  Dehn,  and  Wiirst.  Prior  to 
1873  ^^  devoted  himself  mainly  to  private  instruc- 
tion, but  since  that  time  he  has  been  engaged  exclu- 
sively in  composition.  Among  his  works  which. 
first  attracted  public  attention  by  their  intrinsic  ex- 
cellence, as  well  as  by  the  knowledge  of  orchestration 
which  they  displayed,  were  an  "  Hungarian  suite  " 
and  the  "  Frithjof  symphony."  Among  his  piano 
compositions  are  the  following  four-handed  pieces 
which  have  been  remarkably  popular  :  "  Italienische 
Liebesnovelle,"  "  Liebesfruhling,"  "  Trompeter  von 
Sackingen,"  "  Steppenbilder,"  and  "Aus  meinem 
Tagebuch."  His  choral  works  are  "  Nonnenge- 
sang,"  "Die  Schone  Melusine,"  " Aschenbrodel/' 
and  "Cinderella."  Among  his  operas  are  "Car- 
touche" (1869),  "Armin"  (1878),  and  "Annchen 


THE  FRITHJOF  SYMPHONY.  167 

von  Tharau  "  (1878).  He  has  also  written  several 
works  for  mixed  chorus  and  male  chorus,  piano 
pieces,  songs,  duets,  a  violoncello  concerto,  piano 
trios  and  quartets,  and  a  string  sextet. 


THE    FRITHJOF    SYMPHONY.     Op.  22. 

1.  Allegro  con  fuoco.     (Frithjof  and  Ingeborg.) 

2.  Adagio  ma  non  troppo.     (Ingeborg's  Lament.) 

3.  Allegro  moderato.    Vivace.    (Elves  of  Light  and  Frost 

Giants.) 

4.  Finale.     (Frithjofs  Return) 

The  Frithjof  symphony,  the  first  of  Hofmann's 
larger  compositions  to  attract  public  attention,  was 
\vritten  in  1874.  Its  subject,  as  its  title  indicates, 
is  taken  from  the  cantos  of  Bishop  Tegner's  well- 
known  "  Frithjofs  Saga,"  describing  the  banishment 
of  Frithjof,  son  of  Thorstein,  by  the  brothers  of 
Ingeborg,  daughter  of  King  Bele,  with  whom  the 
Norse  hero  was  in  love ;  her  lament  for  him  by 
the  seashore  ;  and  his  return  in  his  good  ship  "  EUi- 
da."  The  story  of  this  episode  is  really  described 
in  the  first,  second,  and  fourth  movements ;  the 
third  being  a  fantastic  intermezzo,  which,  though  it 
has  no  part  in  the  development  of  the  programme, 
really  gives  local  color  to  the  symphony  by  its 
evident  expression  of  that  sentiment  of  super- 
naturalism  which  characterizes  the  Norse  legends 
so  conspicuously.  Indeed,  were  it  not  for  the 
composer's  own  programme,  the  other  movements 
would   hardly  be   suspected   of  identification  with 


i68     THE  STANDARD  SYMPHONIES. 

the  story  of  the  hero  and  heroine  of  the  Saga. 
They  do  not  deviate  from  the  classical  models  in 
their  structure,  or  differ  from  other  similar  move- 
ments, as  Allegro  and  Andante  pure  and  simple. 
At  the  same  time,  they  are  brilliant  and  picturesque 
in  style,  beautifully  elaborated,  and  scored  in  a  very 
skilful  manner. 

The  opening  Allegro,  "Frithjof  and  Ingeborg," 
has  genuine  dramatic  strength  and  color,  notwith- 
standing its  adherence  to  form.  The  hero  and 
heroine  are  represented  in  the  two  leading  subjects 
by  motives  in  the  Wagner  style,  introduced  re- 
spectively by  the  clarinet  and  oboe,  and  returning 
again  in  the  Finale  of  the  symphony.  One  of 
these  themes  is  vigorous  and  fiery  in  its  nature, 
the  other  sweet,  gracious,  and  tender.  As  solos 
with  charming  string  accompaniments,  they  may 
be  identified  with  the  two  lovers ;  and  in  duet 
form  alternating  with  energetic  string  passages, 
the  composer  evidently  intended  a  genuine  love- 
dialogue. 

The  second  movement,  an  Adagio,  called  "  In- 
geborg's  Lament,"  is  plaintive  and  sad  in  character, 
and  represents  the  sorrowing  maiden  walking  by 
the  seashore  and  gazing  out  wistfully  over  the  deep, 
sighing  for  the  return  of  Frithjof  in  "  EUida,"  and 
lamenting  that  death  may  come  to  her  before  he 
sails  back  again  from  the  South,  whither  her  brothers 
have  driven  him.  The  working  up  of  this  movement 
is  very  short,  but  before  it  closes  there  is  a  notable 
subject  given  out   by  the  trombones  which   bears 


THE  FRITHJOF  SYMPI/ONY.  169 

a  Strong  resemblance  to  Siegfried's  motive  in 
Wagner's    Nibelungen   Trilog)'. 

The  third  movement,  an  Allegro,  entitled  "  Elves 
of  Light  and  Frost  Giants,"  is  in  reality  an  episode 
or  intermezzo  in  scherzo  form,  and  thoroughly 
Northern  in  its  color.  The  "light  elves"  are 
introduced  in  a  dainty,  delicate  theme,  strongly 
suggestive  of  ^Mendelssohn,  to  whom  the  fairy  world 
in  music  belongs  of  right.  The  "frost  giants" 
come  in  with  a  resonant  and  blustering  theme  which 
is  in  reality  a  dance  of  the  wildest  character.  The 
elves'  theme  is  then  repeated,  and  the  movement 
comes  to  an  end  after  a  most  fascinating  display 
of  color  and  fancy  in  tones. 

The  Finale  is  animated,  exultant,  and  triumphant 
throughout.  Its  character  is  at  once  indicated  by 
the  joyous  calls  of  the  horns  and  the  answering 
strains  of  the  violins,  betokening  festivity.  The 
latter  at  last  give  out  a  joyful  theme  announcing 
the  return  of  the  victorious  hero.  The  second 
theme  is  equally  exultant,  and  is  followed  by  Inge- 
borg's  theme  from  the  first  movement,  not  only 
binding  the  symphony  together  and  preserving  its 
unity,  but,  as  may  well  be  imagined,  representing 
the  reunion  of  the  lovers. 


LISZT. 

ISZT  has  written  two  symphonies,  the 
"  Faust  "  and  "  Divina  Commedia,"  and 
twelve  symphonic  poems  :  i.  "Ce  qu  'on 
entend  sur  le  Montagne."  2.  "Tasso." 
3.  "  Les  Preludes."  4.  "  Orpheus."  5.  "  Prome- 
theus." 6.  "Mazeppa."  7.  "  Festklange."  8.  "  He- 
roide  funebre."  9.  "  Hungaria."  10.  "Hamlet." 
II.  "  Hunnenschlacht."  12.  "Die  Ideale."  They 
are,  in  the  strictest  sense  of  the  term,  "  programme- 
music,"  and  yet  not  so  much  descriptions  of  scenes 
or  events  as  poetical  expressions  of  moods  and 
feelings  and  subjective  attributes  ;  whence  it  happens 
that  the  listener  may  not  always  appreciate  their 
meaning  and  purpose  upon  a  first  hearing,  unless 
he  is  en  rapport  with  the  poetical  sentiment  which 
the  composer  is  seeking  to  express.  He  does  not 
follow  the  orthodox  symphonic  form,  as  established 
by  Haydn  and  developed  by  Mozart  and  Beethoven, 
and  in  this  respect  is  an  innovator  if  not  an  icono- 
clast.     In  the  symphonic   poems  the  movements 


THE  FAUST  SYMPHONY. 


171 


flow  into  each  other  without  dividing  lines,  but 
their  unity  is  never  disturbed ;  for  sometimes  a 
single  theme,  skilfully  treated  and  varied  with  sur- 
prising skill,  dominates  the  whole.  He  is  a  musical 
painter  and  decorator  rather  than  a  creator,  but 
the  material  which  he  uses  is  always  poetical.  His 
subjects  are  adorned  with  an  exuberance  of  color 
and  richness  of  fancy  which  on  the  surface  appear 
sensuous  if  not  rhapsodical,  but  when  tested  by 
the  rules  of  thematic  development  they  will  always 
be  found  true  and  logical. 


THE   FAUST   SYMPHONY. 

1.  Allegro.     (Faust.) 

2.  Andante.     (Gretchen.) 

3.  Scherzo.    (Mephistopheles.) 

The  Faust  symphony,  the  most  important  and 
most  artistically  conceived  of  all  Liszt's  orchestral 
works,  while  it  is  a  prominent  illustration  of  pro- 
gramme-music, is  unique  in  this  respect,  that  it  is 
not  a  programme  of  scenes  or  situations,  but  a  series 
of  delineations  of  character.  Liszt  himself  styles 
the  three  movements  of  the  symphony  "  Charakter- 
bilder  "  ("character-pictures"),  and  has  named  them 
for  the  three  leading  dramatis  i:)erson3e  in  Goethe's 
poem,  —  Faust,  Gretchen,  and  Mephistopheles.  He 
gives  us  no  further  programme.  Indeed  that  would 
have  been  impossible,  for  he  confines  his  purpose  to 
the  development  of  these  "  bilder  "  from  a  psycho- 
logical point  of  view,  paying  no  regard  to  the  dra- 


172  THE  STANDARD  SYMPHONIES. 

matic  side  of  the  poem,  except  in  the  Finale  of  the 
last  movement,  where  the  poet's  Chorus  Mysticus  is 
introduced,  typifying  the  final  salvation  of  Faust 
and  his  reunion  with  Margaret. 

The  first  movement,  "  Faust,"  an  Allegro  accord- 
ing to  one  of  the  best  Liszt  authorities,  is  intended 
to  typify  the  longings,  aspirations,  and  sufferings  of 
man,  with  Faust  as  the  illustration.  In  carrying  out 
the  poetical  idea  Liszt  cuts  loose  from  all  conven- 
tional forms  and  gives  rein  to  his  imagination  in  the 
freest  possible  manner.  Though  the  movement  is 
denominated  Allegro,  he  violates  it  at  will  to  suit  the 
demands  of  his  subject,  and  changes  key,  tempo,  and 
tonal  expression  in  the  most  bewildering  manner. 
Through  all  the  broken  melody  and  strange  harmo- 
nies, however,  run  strong  and  impressive  themes, 
richly  poetic  ideas,  and  beautiful  color  decoration. 
Four  themes  are  utilized  in  the  expression  of  Faust's 
traits  of  character.  The  first,  Lento,  clearly  enough 
illustrates  the  dissatisfaction,  restless  longing,  satiety, 
and  aspiration,  which  are  so  forcibly  defined  in 
Goethe's  prologue.  Massive  chords  introduce  it. 
It  changes  to  a  monologue,  passing  from  instrument 
to  instrument,  and  then  develops  into  an  Allegro 
impetuoso,  as  if  the  sadness  of  the  character  had 
given  place  to  fixed  resolution.  The  second  theme. 
Allegro  agitato,  which  is  brighter  and  more  vivacious 
in  character,  shows  the  dawning  of  hope.  A  brief 
episode,  a  moment  of  wild  fancy,  as  it  were,  passes, 
in  which  the  old  feeling  appears  in  hints  of  the 
opening  theme,  but  soon  gives  way  to  the   third 


THE  FAUST  SYMPHONY. 


173 


theme,  introduced  by  the  homs  and  clarinets.  It  is 
a  melody  at  once  refined  and  enthusiastic,  very 
dramatic  in  expression,  and  forming  one  of  the  prin- 
cipal motives  of  the  work.  The  fourth  and  last 
theme  now  appears,  full  of  power  and  vigor,  fore- 
shadowing, with  its  trumpet  calls,  the  stirring  activity 
which  has  taken  the  place  of  doubt  in  Faust's  na- 
ture. After  this  the  thematic  material  as  set  forth 
is  worked  up  in  genuine  symphonic  form. 

There  is  as  marked  a  contrast  between  the  first 
and  second  movements  of  the  symphony  as  there  is 
between  the  restlessness  and  supernaturalism  of  the 
opening  scenes  of  Faust  and  the  sweetness  and 
simplicity  of  Margaret's  life  before  it  is  disturbed  by 
passion.  After  a  short  prelude  the  first  theme  of  the 
Gretchen  movement  —  a  gentle,  tender  melody  —  is 
given  out  by  the  oboe,  with  double-bass  accompani- 
ment. The  second  theme,  marked  Dolce  amo- 
roso, tells  its  own  story  of  the  love  which  has  made 
Margaret  its  victim.  Between  these  are  several 
charming  episodes,  one  of  them  with  its  gradual 
crescendo  evidently  indicating  her  questioning  of 
the  daisy,  "  He  loves  me,  he  loves  me  not."  At 
last  the  horn  sounds  Faust's  love  motive,  which  we 
have  already  encountered  in  the  first  movement, 
followed  by  the  love-scene,  which  is  wrought  out 
with  fascinating  skill,  rising  to  the  ecstasy  of  passion 
and  dying  away  in  gentle  content. 

The  third  movement,  "  Mephistopheles,"  takes  the 
place  of  the  Scherzo  in  the  regular  form.  It  typi- 
fies the  appearance  of  the  spirit  who  denies,  with  all 


174  THE  STANDARD  SYMPHONIES. 

his  cynicism  and  sneers.  Liszt  has  indicated  these 
qualities  in  a  subtle  way.  Mephistopheles  has  no 
symbolical  theme.  His  constant  purpose  is  to  sat- 
irize and  pervert  the  motives  of  his  victim,  and  he 
begins  his  cynical  work  at  once.  The  themes  which 
characterize  Faust  in  the  opening  movement  reap- 
pear, but  they  are  only  distorted  and  caricatured 
reminiscences,  showing  the  power  which  the  evil 
principle  has  gained  over  its  intended  victim.  The 
love  motive  is  burlesqued  and  sneered  at,  but  after 
the  fiend  has  satisfied  his  malicious  humor  there 
comes  a  solemn  episode.  The  uproar  ceases,  and 
in  the  grateful  silence  is  heard  the  tender  Gretchen 
motive  in  all  its  beauty.  Even  Mephistopheles  can- 
not withstand  its  pure  influence.  He  leaves  the 
field  discomfited ;  and  then  by  a  sudden  transition 
we  pass  to  the  purer  heights.  The  solemn  strains 
of  the  organ  are  heard,  and  a  mannerchor,  the 
Chorus  Mysticus,  intones,  a  la  capella^  the  chant :  — 

"  All  things  transitory 

But  as  symbols  are  sent : 
Earth's  insufficiency 

Here  grows  to  event : 
The  Indescribable 

Here  it  is  done. 
The  Woman-soul  leadeth  us 

Upward  and  on." 

A  solo  tenor  enters  with  the  Gretchen  motive,  and 
the  symphony  comes  to  its  mystic  and  triumphant 
close. 


THE  "DIVINA    COMMEDIA:''  175 


A   SYMPHONY  TO  DANTE'S    "  DIVINA  COMMEDIA." 

1.  Inferno. 

2.  PuRGATORio.    Magnificat. 

Liszt's  symphony  to  the  "  Divina  Commedia  "  of 
Dante  is  in  two  parts,  "  Inferno  "  and  "  Purgatorio  ; '' 
though  by  the  introduction  of  the  Magnificat  after 
the  Finale  to  the  "  Purgatorio,"  the  composer  also 
indicates  the  other  division  of  the  poem,  the  "  Para- 
diso."  The  Inferno  opens  at  once  with  a  charac- 
teristic phrase  for  the  bass  instruments  with  a 
crashing  accompaniment,  announcing  in  recitative 
the  inscription  over  the  door  of  hell :  "  Per  mi  si  va 
nella  citta  dolente,"  etc.  ("  Through  me  pass  on  to 
Horror's  dwelling-place  "),  whereupon  the  trombones 
and  horns  sound  out  the  well-known  warning, 
"  Lasciate  ogni  speranza,"  etc.  ("  All  ye  who  enter 
here,  leave  hope  behind  ").  After  the  enunciation 
of  the  curse  the  composer  paints  the  infernal  scenes 
with  all  the  fury  and  barbarity  of  which  apparently 
music  is  capable.  Unnatural  combinations,  chro- 
matic phrases,  grating  dissonances,  strange  wild 
episodes,  furious  rushes,  and  weird  cries  picture 
the  horror  and  suffering  of  the  damned  amid 
which  the  curse  appears  with  literally  "  damnable 
iteration."  In  the  midst  of  all  this  din,  however, 
there  is  a  lull.  Amid  the  tinkling  of  harps  and 
graceful  figures  for  the  strings  and  flutes,  the  bass 
clarinet  intones  a  recitative  (the  "  Nessun  maggior 
dolore,"  of  the  original;,  and  the  English  horn  re- 


176    THE  STANDARD  SYMPHONIES. 

plies,  the  two  instruments  joining  in  a  dialogue 
which  tells  the  mournful  fate  of  Paolo  and  Francesca 
da  Rimini,  —  a  story  of  infinite  love  and  endless 
despair  in  the  Inferno.  At  its  close  the  curse 
sounds  again,  and  once  more  the  hellish  storm 
breaks  out,  and  the  movement  comes  to  a  close 
amid  the  shrieks  and  blasphemies  of  the  damned  in 
an  Allegro  frenetico  which  is  graphic  enough  not  to 
need  words. 

The  second  movement,  "  Purgatorio,"  opens 
with  a  quiet,  restful  theme  in  choral  style,  its  soft 
and  gentle  melody  picturing  that  period  of  expec- 
tancy which  is  the  prelude  to  the  enjoyments  of 
Paradise.  It  is  followed  by  a  masterly  fugue  (Lam- 
entoso)  expressive  of  resignation  and  melancholy. 
Before  it  closes  the  first  theme  returns  again  and 
peacefully  dies  away,  leading  to  the  Finale.  A 
solo  followed  by  a  chorus  chants  the  Magnificat  in 
the  old  classic  style.  All  the  resources  of  the 
orchestra  are  employed  in  enhancing  the  effect  of 
the  chant,  and  the  work  comes  to  a  close  with  im- 
posing Hosannas.  For  this  Finale  Liszt  has  written 
two  endings,  —  the  one  dying  softly  away  like  music 
heard  from  a  distance,  the  other  full  of  ecstasy  and 
ending  with  a  mighty  Hallelujah. 


h^j^-^^ 


.s  \^ 


MENDELSSOHN. 


i^ENDELSSOHN'S  First  symphony,  C  mi- 
nor, op.  1 1,  bears  the  date  of  1824.  the  com- 
poser being  then  in  his  fifteenth  year ;  but 
prior  to  that  time  he  had  written  twelve 
others,  which  are  not  included,  however,  in  the  cata- 
logue lists.  The  C  minor  reveals  little  of  the  romantic 
element  which  characterizes  his  later  symphonies  or 
of  his  individuality.  It  plainly  shows  the  influence 
of  Mozart,  —  a  composer  whose  graceful  and  melo- 
dious fancies  would  naturally  attract  him.  The  work, 
however,  is  by  no  means  immature,  but  on  the  other 
hand  displays  carefully  studied  form  and  remarkable 
knowledge  of  orchestral  resources.  It  was  followed 
by  the  Reformation  symphony  (1830),  written  in  his 
twenty-first  year,  —  an  illustration  of  programme- 
music  to  which  he  afterward  adhered  in  his  sym- 
phonic work.  Three  years  later  appeared  the  Italian 
symphony,  containing  his  Roman  and  Neapolitan 
impressions.  In  1840  his  "  Loljgesang,"  con- 
structed on  the  model  of  Beethoven's  Ciioral  sym- 

12 


178    THE  STANDARD  SYMPHONIES. 

phony,  the  vocal  parts  having  a  long  symphonic 
introduction,  was  warmly  welcomed,  and  is  still  a 
delightful  number  on  the  concert-stage.  The  last  and 
greatest  of  his  symphonies  is  the  A  minor  (Scotch), 
which  was  inspired  by  his  visit  to  Holyrood.  His 
symphonies  will  always  occupy  a  prominent  place 
in  the  romantic  school  by  reason  of  their  thoroughly 
lyric  style,  poetical  conception,  and  the  grace  and 
delicacy  of  their  themes.  With  all  this,  they  are 
strictly  classical  in  form,  Mendelssohn  was  not 
a  creator  nor  an  innovator,  however  romantic  he 
might  be  ;  and  yet  his  symphonies  will  always  retain 
their  popularity,  so  clearly  do  they  reflect  his  fasci- 
nating individuality  as  well  as  the  lyrical  beauty  of 
his  musical  thought.  They  do  not  sound  the  depths 
of  human  feeling,  but  as  pictures  of  travel  and  the 
life  of  his  times  they  are  drawn  with  great  fidelity. 


SYMPHONY  No.  3,   IN  A  MINOK  (SCOTCH).     Op.  56. 

1.  Introduction.     Allegro  agitato. 

2.  Scherzo.     Assai  vivace. 

3.  Adagio  cantabile. 

4.  Allegro  guerriero.    Finale  maestoso. 

The  A  minor  symphony,  the  third  of  the  Men- 
delssohn series,  is  familiarly  known  as  the  "  Scotch," 
the  composer  having  given  it  that  name  in  his  let- 
ters written  from  Rome  in  1832.  The  first  concep- 
tion of  the  symphony  dates  still  farther  back.  In 
April,  1829,  Mendelssohn,  then  in  his  twentieth  year, 
paid  his  first  visit  to  England.     After  remaining  in 


THE  SYMPHONY  IN  A   MINOR.  ijg 

London  two  months  he  went  to  Scotland,  arriving 
in  Edinburgh  July  28  ;  the  next  day  he  heard  a 
competition  of  the  Highland  pipers,  which,  it  may 
well  be  imagined,  gave  him  a  good  idea  of  the 
national  melodies.  The  next  day  he  visited  Holy- 
rood.  He  writes  in  his  letters  that  he  saw  the 
place  where  Rizzio  was  murdered,  and  the  chapel 
where  Mary  was  crowned,  "  open  to  the  sky,  and 
surrounded  with  grass  and  ivy,  and  everything 
ruined  and  decayed ;  and  I  think  I  found  there  the 
beginning  of  my  Scotch  symphony."  He  wrote 
down  on  the  spot  the  first  sixteen  bars  of  the  intro- 
duction, announcing  the  theme  which  not  only 
opens  but  closes  the  movements  and  thus  gives  an 
unmistakable  clew  to  its  meaning.  The  melancholy 
grandeur  of  this  Introduction  shows  how  the  influ- 
ences of  the  scene  affected  his  imaginative  and 
poetical  mind.  It  is  somewhat  curious  that  the 
work  suggested  in  Scotland  was  sketched  out  in 
Italy,  and  completed  in  Germany.  He  planned  it 
in  Rome  in  183 1,  but  did  not  finish  it  until  1842  in 
Berlin.  It  bears  date  January  20  of  that  year,  and 
was  first  played  March  3,  at  the  Gewandhaus,  Leip- 
sic.  It  was  repeated  a  week  later,  and  was  next  heard 
in  London  June  13,  when  Mendelssohn  himself  con- 
ducted it  at  a  Philharmonic  concert.  A  few  days 
later  he  was  entertained  by  the  Queen  and  Prince 
Consort,  and  obtained  permission  to  dedicate  it  to 
Her  Majesty.  The  Scotch  symphony  is  not  the 
only  souvenir  of  the  visit.  To  it  we  owe  also  the 
overture  to  "Fingal's  Cave,"    the   pianoforte    fan- 


iSo    THE  STANDARD  SYMPHONIES. 

tasia  in  F  sharp  minor,  op.  28,  originally  entitled, 
*'  Senate  Ecossaise,"  and  probably  also  the  two-part 
song,  "  Oh,  wert  thou  in  the  cauld  Blast." 

By  the  composer's  own  direction,  the  symphony 
is  to  be  played  without  pause  between  the  move- 
ments. At  the  least,  they  are  to  follow  each  other 
as  quickly  as  is  practicable,  thus  giving  the  effect  of 
a  continuous  whole.  This  style  of  performance 
suits  its  general  character,  for  it  is  not  so  much  a 
symphony,  in  the  orthodox  form  of  announcing  and 
developing  subjects,  as  it  is  a  capriccio  upon  a 
national  theme,  whose  arrangement  is  intended  to 
give  expression  to  the  romantic  and  poetic  phases 
of  Scotch  life.  Its  Introduction  begins  with  the 
Andante  theme  already  mentioned,  a  melody  of  a 
sombre  and  even  melancholy  cast,  which  admira- 
bly reflects  the  influence  of  that  gray  evening  at 
Holyrood.  The  first  theme,  Allegro  un  poco  agi- 
tato, is  of  the  same  cast.  A  subsidiary  theme,  of  a 
tender,  plaintive  character,  leads  back  to  the  An- 
dante of  the  Introduction,  which  closes  a  move- 
ment rarely  equalled  for  its  musical  and  poetical 
expression  and  graceful  finish. 

A  short  passage  for  flutes,  horns,  and  bassoons, 
added  after  the  first  rehearsal  in  London,  connects 
this  earnest,  serious  movement  with  the  Scherzo, 
which  gives  us  a  different  picture.  In  its  form,  it 
departs  from  the  Minuet  and  Trio,  and  is  purely  a 
caprice,  and  a  most  lovely  one ;  while,  at  the  same 
time,  it  differs  from  all  his  other  Scherzos,  in  the 
absence  of  their  sportive,  fantastic  quality.     It  is  a 


THE  SYMPHONY  IN  A   MINOR.  i8i 

picture  of  pastoral  nature,  characterized  by  a  con- 
tinuous flow  of  rural  gayety.  Its  opening  theme, 
given  out  by  the  clarinets,  dominates  it  throughout ; 
for  the  second  theme  plays  but  a  small  part,  though 
it  has  its  place  in  the  general  working  up.  The 
first  motive  is  frequently  reiterated,  and  fills  the 
movement  with  glowing  life  and  spirit.  As  one 
writer  has  characterized  it :  "  It  is  the  most  wonder- 
ful compound  of  health  and  life,  heath  and  moor, 
blowing  wind,  screaming  eagles,  bagpipes,  fluttering 
tartans,  and  elastic  steps  of  racing  Highlanders,  all 
rounded  off  and  brought  into  one  perfect  picture 
with  consummate  art."  Schumann  says  :  "  I  doubt 
whether  a  Scherzo  more  full  of  genius  has  been 
written  in  modern  times." 

The  Adagio  cantabile  presents  still  another  pic- 
ture. The  first  movement  gave  us  the  sombre  tints  ; 
the  second,  those  of  rural  freedom  and  idyllic  gay- 
ety ;  the  third,  though  still  infused  with  melancholy,  is 
evidently  a  reverie  in  which  the  composer  meditates 
upon  the  ancient  state  and  grandeur  of  the  country. 
Its  majestic  strains  might  almost  have  been  swept 
from  Ossian's  harp,  and  it  well  prepares  the  way  for 
the  final  movement,  the  impetuous  first  part  of 
which  is  marked  Allegro  guerriero.  The  romantic 
sentiment  disappears.  In  its  place,  we  have  the 
heroic  expressed  with  astonishing  force  and  exuber- 
ant spirit  in  its  three  themes,  which  finally  give 
place  to  a  short  second  part,  maestoso,  colored  by 
national  melody,  and  closing  this  exquisite  tone- 
picture  of  the  Scotch  visit.     It  is  needless  to  ana- 


l82  THE  STANDARD  SYMPHONIES. 

lyze  the  work  theme  by  theme,  or  indicate  their 
musical  treatment.  It  is  the  stuff  of  which  dreams 
are  made,  and  it  is  only  necessary  to  call  attention 
to  its  general  meaning  to  secure  the  enjoyment  of 
the  listener. 

SYMPHONY  No.  4,  IN  A  (ITALIAN).     Op.  90. 

1.  Allegro  vivace. 

2.  Andante  con  moto. 

3.  Con  moto  moderato. 

4.  Saltarello.    Presto. 

Like  the  A  minor  symphony,  the  A  major  gets 
its  familiar  name  from  the  composer  himself,  who 
always  styles  it  the  "  Italian  "  in  his  letters.  In  1830 
Mendelssohn  decided  to  continue  his  travels.  He 
had  already  visited  England,  Scotland,  and  Hungary, 
and  his  next  journey  was  made  to  Italy.  From  a 
letter  written  in  February,  1831,  and  dated  at  Rome, 
we  learn  that  he  has  four  important  works  in  hand, 
—  the  "  Fingal's  Cave  "  Overture,  the  "  Walpurgis 
Night  "  Cantata,  and  the  Scotch  and  Italian  sym- 
phonies, —  and  tliat  he  is  anxious  to  finish  one  of  the 
latter.  As  he  could  not  "  call  up  a  misty  Scotch 
mood "  under  the  bright  Italian  skies,  he  devoted 
himself  with  ardor  and  unflagging  industry  to  the 
Italian.  In  a  letter  to  his  sister  written  during  the 
same  month  he  says :  "  The  Italian  symphony  is 
making  great  progress.  It  will  be  the  gayest  thing 
I  have  ever  done,  especially  the  last  movement. 
For  the  Adagio  I  have  not  found  anything  yet 
exactly  right,  and  I   think  I  must   put  it  off  for 


THE  SYMPHONY  IN  A.  183 

Naples,"  Again  he  writes :  "  If  I  could  do  but 
one  of  my  two  symphonies  here  !  But  the  Italian 
one  I  will  and  must  put  off  till  I  have  seen  Naples, 
which  must  play  a  part  in  it."  As  the  first  and  last 
movements  were  written  in  Rome,  the  Andante  must 
have  been  due  to  the  Neapohtan  visit,  though  it 
shows  none  of  the  gayety  or  bustle  of  that  city,  but 
rather  the  sentimental  feeling  which  would  naturally 
be  inspired  among  Roman  ruins. 

The  first  movement,  Allegro  vivace,  reflects  as 
clearly  the  blue  skies,  clear  air,  brightness,  and  joy- 
ousness  of  Italy  as  the  first  movement  of  the  A  minor 
symphony  does  the  sombre  and  melancholy  aspect 
of  Holyrood,  and  shows  by  its  spirit  and  gayety  how 
much  Mendelssohn  enjoyed  the  country.  After  a 
moment  of  preparation,  the  violins  sweep  off  at  once 
in  a  vigorous  theme  to  an  accompaniment  of  horns, 
bassoons,  clarinets,  and  flutes.  After  its  develop- 
ment, the  order  is  reversed  ;  and  a  second  theme, 
more  restful  in  character,  appears  for  the  clarinets 
and  bassoons,  with  string  accompaniment.  It  is 
taken  by  the  flutes  and  oboes,  and  leads  the  way  to 
a  new  theme  for  the  first  violins  and  clarinets,  the 
development  of  which  brings  us  back  to  the  first 
theme,  closing  the  first  part  of  the  movement. 
The  second  part  opens  with  a  fresh,  bright  theme 
given  out  by  the  second  violins,  and  continued  by 
the  other  strings  and  flutes,  followed  by  an  episode 
for  the  strings  alone,  which  furnishes  a  remarkable 
display  of  the  composer's  contrapuntal  skill.  It  is 
finally  interrupted  by  the  wind  instruments.     The 


J 84  THE  STANDARD  SYMPHONIES. 

principal  themes  reappear  in  various  forms,  at  last 
returning  to  the  first.  Toward  the  close  of  the 
movement  an  entirely  new  subject  appears  for  the 
first  violins.  The  Coda  is  full  of  spirit  and  joyous 
feeling,  and  at  last  the  happy,  vivacious  movement 
comes  to  an  end. 

The  Andante,  sometimes  called  the  "  Pilgrims' 
March,"  though  the  title  is  merely  fanciful,  opens 
with  a  unison  phrase,  which  has  been  construed  by 
one  authority  as  a  call  to  prayer,  and  by  another  — 
with  more  propriety,  as  it  would  seem  —  the  call  to 
attention.  It  is  followed  at  once  by  the  principal 
theme,  given  out  by  the  oboe,  bassoon,  and  violas, 
and  then  repeated  by  the  first  violins,  with  an  elabo- 
rate accompaniment  by  the  flutes.  After  the  an- 
nouncement of  the  second  theme,  with  a  similar 
instrumental  setting  to  the  first,  the  second  part 
opens  with  a  bright,  joyous  strain  from  the  clarinets, 
reinforced  by  the  violins  and  flutes.  At  the  close 
of  its  development  the  call  is  heard  again,  summon- 
ing attention  to  the  development  of  the  thematic 
materials  already  presented. 

The  third  movement,  Con  moto  moderato,  is  sup- 
posed to  have  been  taken  from  one  of  his  youthful 
works,  though  its  identity  in  this  respect  has  never 
been  discovered.  It  opens  with  a  simple  but  very 
graceful  melody.  The  Trio  is  fresh  and  full  of  deh- 
cate  fancy.  At  its  conclusion  the  first  theme  re- 
turns, and  a  charming  Coda  constructed  upon  sug- 
gestions of  this  theme  brings  the  movement  to  a 
close. 


THE  REFORMATIOiV  SYMPHONY.       1S5 

If  there  were  any  doubt  about  the  national  signifi- 
cance of  this  symphony,  it  would  be  removed  by 
the  Italian  Finale,  Saltarello  presto,  evidently  in- 
spired by  the  Roman  carnival,  of  which  Mendelssohn 
was  a  dehghted  spectator.  The  movement  is  a 
Saltarello,  a  favorite  dance  rhythm  in  Italy,  com- 
bined with  a  whirling  Tarantella  with  astonishing 
skill.  After  a  short  introduction  the  flutes  lead  off 
in  the  merry  dance,  the  other  instruments  soon 
joining  as  if  they  too  had  caught  the  mad  contagion. 
At  the  close  of  the  theme,  a  soberer  melody  is  given 
out  by  the  violins,  the  wind  instruments  still  busied 
with  fragments  of  the  dance  measures.  Soon  the 
Saltarello  returns  again,  however,  this  time  with  a 
fresh  accompaniment.  At  last  it  gives  place  to  the 
rush  of  a  Tarantella  whirling  gayly  along  until  the 
Saltarello  combines  with  it,  and  the  two  rhythms  go 
on  to  the  end,  now  alternating,  now  together,  in  a 
general  terpsichorean  hurly-burly,  full  of  genuine 
Italian  brilliancy  and  vivacity. 

THE   EEFOEMATION   SYMPHONY,  No.  5.     Op.  107. 

1.  Andante.     Allegro  con  fuoco. 

2.  Allegro  vivace. 
3    Andante. 

4.  Chorale.    Allegro  vivace. 

5.  Finale.     Allegro  maestoso. 

The  Reformation  symphony  was  written  by  Men- 
delssohn in  his  twenty-first  year,  with  the  expecta- 
tion of  its  performance  at  the  Tercentenary  Festival 
of  the  Augsburg  Confession  (June  25,  1830),  being 


l86  THE  STANDARD  SYMPHONIES. 

the  anniversary  of  the  confession  of  faith  which 
was  presented  bj'SLuther  and  Melancthon  to  the 
Emperor  Cliarles  V.  at  the  Diet  of  Augsburg,  1530. 
It  was  finished  in  May,  1830,  but  was  not  brought 
to  the  anticipated  performance  in  Leipsic  owing 
to  the  fierce  and  even  riotous  opposition  made  by 
the  Roman  CathoHcs  to  the  proposed  celebration 
of  their  religious  opponents.  In  1832  it  was  re- 
hearsed in  Paris  with  the  view  to  performance,  but 
again  circumstances  proved  unfavorable,  and  it 
was  not  heard  until  December  of  that  year,  when 
Mendelssohn  himself  produced  it  in  Berlin  for  the 
benefit  of  the  "Orchestral  Widows'  Fund"  of 
that  city.  The  work  was  then  laid  aside  for  more 
than  thirty  years,  when  it  was  revived  in  London, 
and  since  that  time  has  been  frequently  performed 
both  in  England  and  this  country. 

Though  a  programme  symphony,  it  is  constructed 
in  strict  form,  and  will  always  be  interesting,  not 
only  for  the  religious  conflict  which  it  typifies,  but 
also  as  a  fine  example  of  the  youthful  work  of  the 
composer.  Though  marked  in  five,  it  is  really 
made  up  of  three,  movements  :  an  Andante  leading 
to  an  Allegro  con  fuoco  ;  an  Allegro  vivace  ;  and 
an  Andante,  a  Chorale  leading  to  Allegro  vivace  on 
the  same  theme,  and  a  Finale,  Allegro  maestoso, 
ending  with  the  Chorale  by  full  orchestra. 

The  first  movement  typifies  the  struggle  between 
the  old  and  new  faith,  and  is  strong  and  serious 
throughout.  The  first  theme  is  given  out  by  the 
violas,  and  at  once  taken  up  by  the  'cellos.     During 


THE  REFORMATION  SYMPHONY.         187 

its  development  the  wind  instruments  in  unison 
announce  the  second  theme,  which  is  answered  by 
the  strings  in  a  gentle  strain,  modulating  to  the  domi- 
nant cadence,  which  is  twice  repeated  ;  the  response 
being  the  passage  used  for  "  Amen  "  in  the  Catholic 
Church  at  Dresden,  known  as  the  "  Dresden 
Amen."  It  is  also  employed  by  Wagner  as  a 
viotif  in  the  latter  part  of  "  Parsifal."  At  the  close 
of  this  significant  introduction  follows  an  Allegro 
con  fuoco,  built  up  on  two  principal  themes,  the 
development  of  which,  as  well  as  the  stormy  char- 
acter of  its  progress,  unquestionably  indicates  the 
conflict,  which  is  significantly  marked  by  the  return 
of  the  "  Amen  "  passage  at  the  very  height  of  the 
struggle,  as  if  the  Church  were  still  dominant. 
The  Coda  restates  the  material  of  the  Allegro,  but 
in  a  subdued  manner.  Then  follows  a  crescendo 
leading  up  to  a  vigorous  close. 

The  second  movement.  Allegro  vivace,  except 
for  the  pure  and  spiritual  nature  of  its  contents, 
can  hardly  be  called  a  part  of  the  programme.  Its 
two  themes  are  charming  in  their  grace  and  re- 
finement, but  play  no  particular  part  in  telling  the 
story  of  the  progress  of  the  new  faith.  One  writer 
has  very  aptly  likened  it  to  a  confession  of  faith 
(Jewish?),  it  is  so  tenderly  sweet. 

The  opening  of  the  third  movement,  Andante, 
is  exceedingly  beautiful  and  effective.  The  leading 
theme,  most  pathetic  in  character,  is  given  out  by 
the  violins,  accompanied  by  the  other  strings.  After 
a  brief  reminiscence  of  the  second  theme  of  the 


l88         THE  STAA'DARD  SYMPHONIES. 

Allegro  con  fuoco,  the  plain,  popular  melody  of 
Luther's  hymn,  "  Ein'  feste  Burg  ist  unser  Gott," 
is  given  out  by  a  single  flute,  unaccompanied,  herald 
of  the  triumph  of  the  coming  new  religion.  After 
three  bars  the  wood  winds  take  up  the  theme  and 
fill  out  the  harmony.  The  violas  and  'cellos  come 
in  to  enrich  it.  A  variation  follows,  Allegro  vivace, 
in  which  the  violins  take  part,  while  fragments  of 
the  theme  are  treated  by  the  clarinets,  oboes,  and 
flute,  leading  up  to  the  Finale,  Allegro  maestoso. 
The  first  theme  is  a  fugal  passage  for  strings  which 
occurs  twice,  and  the  second  a  triumphant  strain, 
prophetic  of  victory.  At  the  second  appearance 
of  the  fugue,  led  off  by  the  first  violins,  the  Chorale, 
given  out  by  the  wind  instruments,  disputes  its 
superiority.  The  fugue  continues  independently, 
and  finally  the  Chorale  combines  with  it.  The 
second  theme  also  reappears,  but  at  last  the  climax 
is  reached,  and  the  full  orchestra  fortissimo  pro- 
claims the  "  Ein'  feste  Burg  ist  unser  Gott  "  in  all 
its  sonorous  majesty. 


MOZART. 


HE  important  part  which  Mozart  played  in 
the  development  of  the  symphony  has 
already  been  described  in  the  preliminary 
essay  of  this  work.  It  is  only  necessary  in 
this  place  therefore  to  supplement  it  with  a  brief 
glance  at  his  symphonic  works.  Kochel  in  his  list 
catalogues  forty-nine  of  them.  The  First  symphony 
was  written  at  London  during  a  sickness,  in  1 764,  in 
the  eighth  year  of  his  age.  It  has  but  three  move- 
ments, —  a  Molto  Allegro,  Andante,  and  Presto,  — 
and  is  for  two  violins,  viola,  bass,  two  oboes,  and  two 
horns.  He  wrote  three  more  in  London,  and  the 
next.  No.  22,  was  composed  at  the  Hague  in  1765, 
for  the  installation  festival  of  Prince  William  V.  The 
next  in  the  list.  No.  43,  was  composed  in  Vienna  in 
I  76  7,  and  in  this  the  Minuet  appears.  Five  more 
were  composed  in  that  city  between  1767  and  1770. 
He  is  next  heard  from  in  Rome,  where  his  symphony, 
No.  81,  is  dated  April  25,  1770.  Another  followed 
at  Bologna  in  the  same  year.  His  first  Salzburg 
symphony  appeared  in  1771,  for  two  violins,  viola, 


1 90    THE  STANDARD  SYMPHONIES. 

bass,  two  oboes,  and  two  horns,  with  two  flutes  and 
two  bassoons  in  the  Andante  movement.  Then  fol- 
lows one  in  Milan,  and  he  returns  to  Salzburg,  where 
he  gives  twenty  more  to  the  world.  In  1778,  while 
in  Paris,  he  wrote  the  symphony  in  D,  in  three 
movements,  known  as  the  Parisian,  the  Andante  of 
which  he  twice  composed.  Three  more  followed 
at  Salzburg ;  No.  318,  in  the  form  of  an  overture, 
possibly  for  Gebler's  play  of  "  King  Thamos,"  for 
which  he  composed  other  incidental  music ;  No. 
319,  originally  in  three  movements,  the  Minuet  hav- 
ing been  added  later ;  and  No.  338,  a  serious  work 
which  made  a  great  success.  The  next,  No.  385, 
written  for  a  festival  of  the  Haffner  family  at  Salz- 
burg, and  known  as  the  "  Haffner  symphony,"  was 
composed  at  Vienna  in  1782.  The  next  two,  Nos. 
425  and  440,  were  composed  at  Linz.  No.  504 
was  written  at  Prague  in  1786,  and  is  one  of  his 
most  artistic  works.  The  last  three  —  E  flat.  No. 
543  ;  G  minor.  No.  550 ;  and  Jupiter,  No.  551,  the 
greatest  in  the  series  —  were  composed  in  Vienna 
in  the  same  year,  1788. 

SYMPHONY  No.  543  (KOCHELi),  IN  E   FLAT. 

1.  Adagio.    Allegretto. 

2.  Andante. 

3.  Minuet  and  Trio.     Allegretto. 

4.  Finale.    Allegro. 

The  symphony  in  E  flat  is  the  first  of  the  three 
great  works  of  its  class  composed  by  Mozart  in  the 

I  Numbered  from  Kochel's  theme  catalogue. 


THE  SYMPHONY  IN  E  FLAT.  191 

year  1788.  It  was  written  at  a  time  when  he  was 
in  sore  financial  straits,  and  yet  breathes  the  very 
spirit  of  joy  and  gayety  throughout,  except  in  the 
Andante  movement.  It  is  an  extraordinary  proof 
of  his  marvellous  powers  of  creation  that  while  he 
was  writing  minuets,  waltzes,  and  other  music  for  the 
court  balls  at  Vienna  to  obtain  the  means  of  subsist- 
ence, besides  many  pieces  of  a  more  important 
character,  he  found  time  between  the  26th  of  June 
and  loth  of  August  to  compose  the  three  greatest 
symphonies  of  his  forty-nine,  — the  E  flat,  G  minor, 
and  C  ( Jupiter  ),  and  the  last  three  of  the  series, 
for  after  the  Jupiter  no  more  works  of  this  kind 
came  from  his  facile  pen.  The  E  flat  is  inscribed 
by  him  June  26,  1788,  but  it  was  probably  written 
between  the  17th  and  26th  of  that  month.  Though 
not  constructed  upon  as  grand  a  scale  as  its  two 
associates  it  is  characterized  by  remarkable  beauty 
and  felicity  of  expression,  and  is  familiarly  known 
as  "  the  Swan  Song."  Hoffmann,  in  his  "  Phantasie- 
stiicken,"  says  of  it :  — 

'■  Love  and  sadness  breathe  in  sweet  spirit-tones 
throughout.  Night  falls  in  purple  gloom,  and  with  in- 
expressible longing  we  follow  the  forms  which  with 
friendly  gestures  invite  us  into  their  ranks,  as  they 
fly  through  the  clouds  to  join  the  never-ending  dance 
of  the  spheres." 

The  less  rhapsodical  Jahn  says  :  — 

"  The  feeling  of  pride  in  the  consciousness  of 
power  shines  through  tiie  magnificent  introduction, 
while  the  Allegro  expresses  the  purest  pleasure,  now 


192 


THE  STANDARD  SYMPHONIES. 


in  frolicsome  joy,  now  in  active  excitement,  and  now 
in  noble  and  dignified  composure.  Some  shadows  ap- 
pear, it  is  true,  in  the  Andante,  but  they  only  serve  to 
throw  into  stronger  relief  the  mild  serenity  of  a  mind 
communing  with  itself  and  rejoicing  in  the  peace 
which  fills  it.  This  is  the  true  source  of  the  cheerful 
transport  which  rules  the  last  movement,  rejoicing  in 
its  own  strength  and  in  the  joy  of  being." 

The  symphony  opens  with  a  short  Adagio  built  up 
on  solid  chords  by  the  whole  orchestra,  with  inter- 
vening scale  passages  for  the  first  violins,  and  subse- 
quently for  the  second  violins  and  basses,  leading 
up  to  the  Allegro,  which  is  introduced  by  the  fol- 
lowing restful  and  melodious  theme,  — 


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first  announced  by  the  violins  and  on  the  repeat 
given  over  to  the  basses.  The  second  theme  is  a 
cantabile  melody  of  equal  beauty  and  grace,  divided 
between  the  violins  and  clarinets.  The  develop- 
ment of  the  movement  is  short,  and  the  second 
theme  is  mainly  used  in  association  with  a  phrase  at 
first  employed  as  an  accompaniment. 

The  Andante  movement  is  principally  based  upon 
the  following  theme, — 


given  out  by  the  strings,  which  leads  up  to  a  second 
theme  of  more  serious  character.     The  second  part 


THE  SYMPHONY  IN  E  FLAT. 


193 


begins  with  a  passionate,  almost  impetuous  theme, 
at  the  close  of  which  there  is  a  genuine  harmonic 
display  in  which  the  bassoons  play  a  very  character- 
istic part. 

The  Minuet  opens  thus  cheerfully  :  — 


^s^ 


r^;  iju-^^ 


/ 

The  Trio  sung  by  the  first  clarinet,  the  second 
playing  an  arpeggio  accompaniment,  is  one  of  those 
lovely  passages,  lovely  in  its  very  simplicity,  which 
are  so  characteristic  of  Mozart. 

In  the  Finale  the  composer  gives  free  rein  to  his 
humor  and  fancy,  as  well  as  to  his  skill  in  devel- 
opment.    It  opens  with  the  following  theme,  — 

which  is  fairly  fascinating  by  its  sportive  and  tan- 
talizing mood.  The  second  theme  is  so  similar  in 
character  as  to  amount  to  little  more  than  an  em- 
phasis of  the  first,  and  seems  to  have  been  intro- 
duced to  give  more  room  for  the  merry  thoughts  of 
the  composer,  which  are  expressed  in  bewildering 
variety  of  development.  The  themes  themselves 
count  for  little  as  compared  with  the  fanciful,  elabo- 
rate structure  of  which  they  are  the  foundation. 
The  Finale  in  fact  is  a  very  carnival  of  gayety  and 
sunshine. 


13 


T*-»- 


194  THE  STANDARD  SYMPHONIES. 

SYMPHONY  No.  550   (KOCHEL),  IN  G  MINOE. 

1.  Allegro  molto. 

2.  Andante. 

3.  Minuet  and  Trio.    Allegro. 

4.  Finale.    Allegro  assai. 

In  Mozart's  autograph  catalogue,  the  symphony 
in  G  minor  is  set  down  as  written  July  25,  1788, 
which  refers  probably  to  the  day  of  completion. 
As  the  E  flat  was  finished  June  26,  it  is  evident 
that  it  was  composed  between  these  two  dates. 
Of  the  sixteen  symphonies  written  between  1773 
and  1788  this  is  the  only  one  in  the  minor  key,  and 
from  this  fact  many  authorities  have  attributed  to 
it  an  expression  of  sorrow.  It  is  curious,  by  the 
way,  how  these  authorities  differ.  Nohl  says  it 
displays  energy,  struggle,  and  victory.  Hoffmann 
writes  :  "  Love  and  melancholy  breathe  forth  in  pur- 
est spirit  tones  ;  "  and  Jahn  attributes  to  it  a  feeling 
of  deep  sadness.  "  Minor  key  "  has  become  with 
us  the  synonyme  of  sombreness,  sadness,  and  mel- 
ancholy ;  but  Mozart's  sadness  is  not  of  the  tragic 
kind.  Once  in  the  realm  of  instrumental  music, 
his  Hellenic  nature  never  could  succumb  to  the 
deep  distresses  of  the  soul.  The  restlessness  of 
the  first  and  second  movements,  the  energy  of  the 
themes  of  the  Minuet  and  Finale,  the  sudden  tran- 
sition from  piano  to  fortissimo,  instead  of  giving  us 
the  impression  of  real  anguish  or  despair,  as  these 
writers  would  have  us  believe,  seem  more  like  the 
expression  of  a  ruffled  temper  on  the  part  of  the 


THE  SYMPHOXY  IN  G   MINOR. 


195 


composer.  The  symphony  has  always  been  a  great 
favorite  with  composers.  Schubert  said :  "  You 
can  hear  the  angels  singing  in  it."  Mendelssohn 
held  it  in  high  esteem ;  and  there  is  a  report  that 
Beethoven  scored  it  over  for  orchestra  from  a  piano 
edition,  though  the  score  has  never  been  found. 
Mozart  himself  was  very  fond  of  it,  and  after  its 
first  performance  made  a  second  score,  adding  two 
clarinets  to  the  oboes,  and  making  other  changes 
to  suit  the  new  arrangement. 

Without  the  Adagio,  which  was  customary  at 
that  time,  or  any  attempt  to  call  the  attention  of 
the  hearers,  the  first  movement  begins  at  once  with 
the  principal  theme,  — 


g 


^#V^ 


i^^r,  -^ir\f^x-. 


*-*^ 


^ 


^    *    r 


followed  by  a  new  theme  which  is  afterward  em- 
ployed in  the  most  elaborate  fashion.  Then  follows 
an  exquisite  melody,  — 

Viol. 


U 


answered  in  the  basses  by  — 


^ 


^ 


^ 


=?-M^^f-^ 


In  the  second  part  the  principal  theme  is  broken 
up  into  bits,  shaken  about  in  true  kaleidoscopic 
fashion,  and  transparent  at  every  turn,  thus  in- 
creasing its  beauty. 

The  Andante  is  not  based  on  a  long  cantilena, 


196 


THE  STANDARD  SYMPHONIES. 


like  most  of  his  Adagios,  but  betrays  rather  a 
restless  spirit  by  the  short  groups  which  are  thrown 
from  the  instruments.  The  germ  of  the  melody 
appears  at  the  opening  in  the  bass  — 


S 


^ 


-=i — =?- 


T^^ri^g^g^ 


-f=-^ 


^ 


The  Minuet,  Allegro,  opens  with  : 


U\-^\-^^P^^^^^m 


W^- 


Se 


The  stubborn  syncopation  is  enforced  at  the  begin- 
ning of  the  second  part  in  the  following  manner,  — 

£ 


^ 


^m^ 


w^ 


e 


:£ 


^3feS 


and  we  easily  realize  that  poor  Mozart  feels  out  of 
sorts ;  but  the  cloud  soon  passes,  and  in  the  Trio 
he  smiles  again,  and  dismisses  his  "  blues "  with 
a  joke  :  — 

drz 


-^ 


^ 


^^^ 


The  Finale,  Allegro  assai,  is  a  work  of  such  mar- 
vellous skill  that,  while  the  musical  student  can 
alone  appreciate  the  genius  of  the  master  by  close 
study  of  the  score,  yet  the  listener  never  is  op- 
pressed by  its  intricacies.  All  is  clear,  beautiful, 
and  full  of  life  and  energy  from  the  opening  phrase. 


fji=^^^=^-M  ^  tf  ItTT?^^ 


THE  SYMPHONY  IN  C.  197 

which  embodies  the  character  of  the  whole  move- 
ment, to  the  last  note.  Mozart  reared  this  monu- 
ment of  orchestral  writing  with  the  modest  means 
of  what  would  nowadays  be  called  a  small  orches- 
tra, consisting,  besides  the  string  quartet,  of  two 
horns,  a  flute,  two  clarinets,  two  oboes,  and  two 
bassoons. 

SYMPHONY  No.  551  (KOCHEL),  IN  C  (JUPITER). 

1.  Allegro  vivace. 

2.  Andante  cantabile. 

j.  Minuet  and  Trio.     Allegretto. 
4.  Finale.     Allegro  molto. 

Among  all  the  symphonies  of  Mozart  not  one  can 
equal  the  dignity,  loftiness,  and  skill  of  the  symphony 
in  C,  the  last  from  his  pen,  which  by  common  con- 
sent, as  it  were,  has  been  christened  the  "  Jupiter,  " 
both  as  compared  with  his  other  symphonies  and 
with  the  symphonic  works  of  other  composers  be- 
fore Beethoven  appeared  with  his  wonderful  series. 
It  was  composed  within  a  period  of  fifteen  days, 
and  completed  Aug.  10,  1788. 

It  has  no  introduction,  but  begins  at  once  with 
the  principal  theme  of  the  Allegro,  which  is  con- 
structed upon  two  subjects,  —  the  first  strong  and 
bold  in  character  at  times,  and  again  restful ;  and  the 
second  gay,  even  to  the  verge  of  hilarity.  The 
first  theme  is  as  follows  :  — 


Tutti.     ^_^  '^      Strings. 


198 


THE  STANDARD   SYMPHONIES. 


The  second  theme,  which  is  full  of  the  genuine 
German  Geiniithlichkeit ,  is  given  out  by  the  strings, 
and  its  hilarity  is  intensified  by  the  following  epi- 
sode, which  dominates  the  whole  movement,  so  far 
as  its  expression  is  concerned  :  — 


-*-*-*■  ■*^-i--i-«!#-^* 


i? 


♦  ••■■•-••-a  ♦■^ 


^ 


The  Andante  is  highly  expressive.  The  materials 
which  compose  it  are  exquisite  melodies  whose 
beauty,  especially  that  of  the  first,  with  muted  vio- 
lins, must  appeal  even  to  the  dullest  ear.  The 
opening  theme  is  as  follows  :  — 


After  a  repetition  of  four  bars  by  the  basses  a  new 
melody  appears  for  the  bassoons,  which  leads  up  to 
the  second  theme,  given  out  by  the  oboes  and  full 
of  rest  and  contentment.  A  charming  Coda  brings 
the  beautiful  first  part  of  the  movement  to  its  close. 
The  second  is  devoted  to  the  contrapuntal  develop- 
ment of  all  this  melodious  material,  which  is  accom- 
plished with  marvellous  skill,  and  at  the  close  returns 
to  the  original  key  and  melody. 

The  Minuet  is  one  of  the  happiest  and  most 
charming  of  all  his  numbers  in  this  rhythm.  There 
is  a  swing,  an  elasticity  of  movement,  at  once  light 
and  free,  and  a  gayety  and  freshness  which  belong 


THE  SYMPHONY  IN  C. 


199 


almost  exclusively  to  Mozart, 
following  theme  :  — 


It  begins  with  the 


m 


-(2^ 


#-=(—•— =!-TtI^ 


g 


The  Trio  is  in  the  same  key,  and  is  equally  happy 
in  its  expression  of  naivetd  and  cheerful  humor. 

The  Finale  is  the  masterpiece  of  the  symphony. 
In  combinations  of  the  most  astonishing  contrapun- 
tal skill  with  freedom  of  movement  it  will  always  re- 
main a  monument  to  the  genius  and  knowledge  of 
the  composer.  It  almost  seems  as  if  in  this  last 
movement  of  his  last  symphony  Mozart  desired  to 
give  to  the  world  an  immortal  legacy  which  should 
forever  bear  witness  to  the  greatness  of  his  musical 
name.  It  is  built  up  on  four  themes  developed  in 
fugal  treatment.  Colossal  figures  of  counterpoint 
are  combined  with  the  most  graceful  motives,  each 
thoroughly  individual  in  character  and  all  fitted  to- 
gether in  every  variety  of  union,  but  never  at  the 
sacrifice  of  that  grace  and  fancy  for  which  Mozart 
is  so  conspicuous.  The  first  theme  is  an  old  church- 
music  phrase  which  was  a  favorite  with  him  :  — 


i 


^£6 


ii^^^^^ 


The  second  theme  is  announced  at  once 


^=(L=g_j  f^-^^^JT^UU-J-jzJ^jLji^ 


At  its  close  the  first  is  treated  as  a  five-part  fugue, 
after  which  the  third  theme  appears  on  the  violins  : 


200 


THE  STANDARD  SYMPHONIES. 


=r=^=^ 


^ 


The  fourth  theme  enters  in  graceful  fashion  :  — 


$ 


3: 


5^ 


^fe 


^ 


^^ 


These  are  the  materials  which  Mozart  elaborates 
with  marvellous  skill.  As  the  development  pro- 
ceeds he  inverts  the  second  theme,  giving  a  fresh 
melodic  subject,  which  enters  into  the  combination 
as  clearly  and  individually  as  its  companions.  Thus 
on  into  the  Coda,  which  again  reveals  the  masterly 
skill  of  the  composer  and  the  ease  with  which  he 
treated  the  most  intricate  contrapuntal  difficulties. 
It  is  not  necessary  to  follow  the  progress  in  detail, 
for  in  spite  of  all  its  complications  the  movement 
will  always  commend  itself  to  the  hearer  by  its 
smooth,  flowing  character,  showing  that  however 
difficult  these  ingenious  and  elaborate  contrivances 
may  seem  they  did  not  exist  as  difficulties  to  the 
composer,  but  were  only  used  as  symbols  to  express 
the  glowing,  animated  picture  which  occupied  his 
thoughts.  That  picture  was  one  of  human  life  in 
its  most  powerful,  active,  and  dignified  phases. 


PAINE. 

iJOHN  K.  PAINE,  one  of  the  few  really  emi- 
nent American  composers,  is  well  known, 
not  only  in  this  country,  but  also  in 
England  and  Germany,  by  his  symphonic 
works.  His  larger  orchestral  pieces  have  been  made 
familiar  to  American  audiences  by  Mr.  Theodore 
Thomas's  band,  and  have  met  with  great  success. 
His  style  of  composition  is  large,  broad,  and  dig- 
nified, based  upon  the  best  classic  models,  and 
evinces  a  high  degree  of  musical  scholarship.  The 
list  of  his  principal  instrumental  compositions  is  as 
follows  :  First  symphony,  in  C  minor,  op.  23,  com- 
posed in  1875, and  first  performed  in  Boston  by  the 
ThomasOrchestra,  Jan.  26, 1876  ;  Second  symphony, 
in  A  major,  op.  34,  entitled  "Spring,"  composed  in 
1879-80,  and  first  performed  in  Cambridge,  Mass., 
March,  1880,  the  composer  himself  having  also  con- 
ducted it  at  a  Brooklyn  (N.  Y.)  Philharmonic  concert 
in  1883  and  in  Boston  in  1884 ;  symphonic  poem 
to  Shakspcare's  "  Tempest,"  in  D  minor,  op.  31, 


202  THE  STANDARD  SYMPHONIES. 

composed  in  1876,  and  first  performed  in  New 
York  by  the  Thomas  Orchestra  in  October,  1877; 
overture  to  Shakspeare's  "  As  you  like  it,"  op.  28  ; 
Duo  concertante  for  solo  violin,  violoncello,  and 
orchestra,  in  A  major,  op.  t^Z  ',  piano  and  violin 
sonata,  in  B  minor ;  and  trio  in  D  minor,  for  piano, 
violin,  and  violoncello,  op.  32. 

SYMPHONY  No.  2,  IN  A.      (SPRING.)     Op.  34. 

1.  LvTRODucTiON.     Adagio  sostenuto.      (The  Departure  of 

Winter.)    Allegro  ma   non   troppo.     (The  Awakening 
of  Nature.) 

2.  Scherzo.     Allegro.     (May  Night  Fantasy.) 

3.  Adagio.     (A  Romance  of  Springtime.) 

4.  Allegro  giojoso.     (The  Glory  of  Nature.) 

As  already  stated,  the  Spring  symphony  was 
composed  in  1879-80.  It  is  a  work  characterized 
by  scholarly  dignity  and  purity  of  style,  as  well 
as  by  the  grace  and  freedom  of  its  musical  ideas 
and  their  adaptation  to  the  expression  of  definite 
programme-music  through  the  medium  of  brilliant 
and  effective  instrumentation.  Altogether,  it  is  by 
far  the  most  important  work  yet  produced  by  an 
American  composer. 

The  Introduction  is  clearly  typical  of  the  mel- 
ancholy and  frigid  desolation  of  winter.  It  begins 
with  a  suggestive  minor  theme  for  the  tenors  and 
'cellos,  the  contrabass  and  horn  furnishing  the  back- 
ground. As  the  harmony  is  increased  it  grows 
grimmer  and  more  agitated  in  tone,  until  a  tremolo 
of  the    strings   makes  way  for   a   melody  for   the 


THE  SYMPHONY  IN  A. 


203 


clarinet,  —  harbinger  of  spring.  It  is  followed  by 
a  tempestuous  climax.  The  winter  is  going  out 
like  a  lion.  As  the  storm  subsides,  it  gives  place 
to  a  pianissimo  tremolo  of  the  strings  leading  to 
a  change  to  the  major  key.  Spring  has  come. 
The  violins  keep  up  their  tremolo,  as  if  filled  with 
anticipations,  when  suddenly  the  principal  theme 
is  given  out  by  the  second  violins  and  'cellos,  soon 
joined  by  the  violins  and  clarinets  in  a  bright  stream 
of  melody,  after  which  the  violins  resume  their 
suggestive  episode.  Fresh  motives,  clear,  cheerful, 
and  buoyant  in  character,  are  introduced,  with 
which  the  winter  theme  strives  in  vain  contention. 
Near  the  close  a  sweet  melody  for  the  violins 
occurs,  and  the  Allegro  ends  with  the  tremolo  taken 
at  first  fortissimo  and  gradually  dying  away. 

The  Scherzo  is  entitled  "  May  Night  Fantasy,"  and 
well  answers  to  its  name.  It  opens  with  a  graceful, 
airy  theme,  which  in  its  melodious  progress,  ac- 
companied by  the  songs  of  birds  and  the  sounds 
of  animated  nature  calling  from  instrument  to  in- 
strument, is  a  genuine  bit  of  spring  poetry,  full 
of  gay  color  and  warm,  rich  tone.  The  Trio 
finely  contrasts  with  the  tenderness  of  its  cantabile 
melody. 

The  Adagio  is  broadly  laid  out.  The  principal 
theme  is  in  sombre  color,  but  very  poetic  in  its 
feeling,  and  tinged  here  and  there  with  reminis- 
cences of  the  winter  theme.  It  is  undoubtedly 
intended  for  a  reverie,  full  of  restless  aspiring  and 
serious   introspection.      The    theme    pervades   the 


204  THE  STANDARD  SYMPHONIES. 

whole  movement,  and  is  enriched  by  subsidiary 
phrases  from  the  various  instruments  of  the  same 
general  character. 

The  Finale,  Allegro  giojoso,  is  a  noble  and  ex- 
alted climax  to  the  work,  its  distinguishing  feature 
being  a  grand  chorale-like  theme  of  thanks- 
giving expressing  the  joy  of  man  over  the  return 
of  spring  and  the  glory  of  Nature.  The  opening 
theme  is  bright  and  exhilarating,  and  after  its  full 
development  alternates  with  the  swelling  psean  of 
praise,  which  is  exceedingly  impressive  in  its  re- 
peated utterances  by  full  orchestra. 


RAFF. 


OSEPH  JOACHIM  RAFF  has  left  the 
world  eleven  important  symphonies,  which 
are  among  the  finest  illustrations  of  pro- 
gramme-music that  the  modern  German 
school  has  yet  given  us.  The  No.  i,  "An  das 
Vaterland,"  was  written  in  1863,  and  secured  the 
prize  offered  by  the  Gesellschaft  der  Musikfreunden, 
Vienna.  This  was  followed  by  No.  2,  in  C,  and 
No.  3,  "  Im  Walde,"  in  1869  ;  No.  4,  in  G  minor,  in 
1871  ;  and  No.  5,  "Lenore,"  in  1872.  In  1876 
No.  6  appeared,  with  the  somewhat  formidable  motto, 
"  Gelebt,  gestrebt,  gelittcn,  gestritten,  gestorben, 
umworben  "  ("  Lived,  struggled,  suffered,  fought, 
died,  crowned  "),  which  clearly  enough  typifies  the 
career  of  many  an  artist  who  has  struggled  and 
suffered  through  life,  and  to  whom  the  "  woven  " 
wreath  of  success  has  come  only  after  he  has  passed 
away.  In  1877  ^'^  Alpcn  symphony  appeared, 
the  first  movement  of  which  is  a  remarkable  piece 
of  tone-painting.     No,  8,  "  Sounds  of  Spring,"  was 


2o6    THE  STANDARD  SYMPHONIES. 

written  in  1878,  and  is  in  four  movements,  whose 
character  is  described  by  these  mottoes  :  Allegro, 
"  Nature's  Awakening,"  "  Walpurgis  Night ;  "  Lar- 
ghetto,  "  First  Blossoms  of  Spring ;  "  and  Allegro, 
"  The  Joys  of  Wandering."  This  was  followed  by 
three  more  symphonies  completing  the  cycle  of 
the  year, —  "  Smiimer  "  (1880),  "Autumn"  (1882), 
and  "Winter"  (1883). 


SYMPHONY  No.  3,  IN  F  MAJOR  (IM  WALDE).    Op.  153. 

1.  Allegro.     (Am  Tage  Eindriicke  und  Empfindungen.    "Day- 

time.    Impressions  and  Sensations.") 

2.  Largo.     (In  der  Dlimmerung.      a.  Traumerei.     b.  Tanz  der 

Dryaden.  "  Twilight.  Reverie.  Dance  of  the  Wood- 
nymphs.") 

3.  Allegro.      (Nacht.     Stilles   Weben   der   Nacht  im   Walde. 

Einzug  und  Aiiszug  der  Wilden  Jagd  mit  Frau  Holle  und 
Wotan.  Anbruch  des  Tages.  "  Night.  The  Quiet  Mur- 
mur of  Night  in  the  Forest.  Arrival  and  Departure  of  the 
Wild  Hunt  with  Dame  Holle  and  Wotan.  Break  of 
Day.") 

The  mottoes  of  the  symphony  in  F  major  clearly 
enough  express  its  meaning.  It  is  a  picture  of  day- 
time, twilight,  and  night  in  the  woods.  The  first  two 
movements  are  suggestive.  The  third  attempts  ac- 
tual description,  and  with  remarkable  success.  The 
first  movement  bears  the  title  "  Impressions  and 
Sensations,"  reminding  one  of  Beethoven's  guide 
in  the  Pastoral  symphony :  "  Expressive  of  feeling 
rather  than  painting."  It  begins  with  an  introductory 
call  fi-om  the  horns,  followed  by  the  strings,  pastoral 


THE  SYMPHONY  IN  F  MAJOR.  207 

and  mysterious  in  its  effect,  and  throwing  out  hints 
of  the  subsequent  theme-material  of  the  movement. 
The  first  theme  is  given  out  by  the  strings,  followed 
by  a  new  phrase  for  strings  and  wind  instruments, 
and  leading  up  by  ingenious  modulations  to  a  long 
second  theme,  which  after  full  statement  is  partially 
repeated  by  the  horns,  with  accompaniment  of  vio- 
lins. A  new  figure  follows  for  the  bassoons,  with 
the  development  of  which  the  first  part  of  the  move- 
ment comes  to  a  close.  In  the  further  treatment 
of  the  thematic  material  frequent  use  is  made  of  the 
horn  signal  in  the  Introduction.  This  and  a  fresh 
phrase  for  the  violins,  used  as  accompaniment,  play 
an  important  part  in  the  elaboration.  All  the 
themes  pass  in  reuew,  the  beautiful  second  entire, 
and  the  Coda  brings  to  its  close  this  charming  pic- 
ture of  the  quiet  surprises  of  woodland  in  an 
autumn  day. 

The  second  movement,  entitled  "  Twilight,"  con- 
sists of  two  parts,  "  Reverie  "  and  "  Dance  of  the 
Wood-nymphs,"  the  first,  Largo,  and  the  second 
corresponding  to  the  Scherzo  and  Trio  of  the  or- 
thodox form.  After  a  short  introduction  the  Largo 
begins  with  a  beautiful  and  suggestive  melody,  —  the 
reverie  of  the  dreamer.  After  a  short  episode  it  is 
repeated,  this  time  by  the  first  horn  and  violas,  with 
the  remaining  horns,  violins,  and  'cellos  accompany- 
ing,—  an  effect  which  is  not  only  thoroughly  in 
keeping  with  the  character  of  the  dream-picture 
itself,  but  admirable  from  an  artistic  point  of  view. 
After  another  episode   the  theme  returns  twice,  — 


2oS         THE  STANDARD  SYMPHONIES. 

the  first  time  with  heightened  pastoral  effect,  and 
the  second  time  in  much  the  same  manner  as  when 
originally  given  out.  The  Scherzo  opens  with  a 
lively  passage  for  the  flutes,  and  the  Trio  starts  off 
on  the  strings.  It  is  in  reality  a  dance  movement, 
—  the  dance  of  the  Dryads,  —  but  before  its  close 
the  Reverie  motive  of  the  Largo  appears,  and  thus 
unifies  the  movement  and  completes  the  picture  of 
the  dreamer  and  his  reverie  intruded  upon  by  the 
dancing  wood-nymphs. 

In  the  final  movement,  the  mythologies  are  some- 
what mixed.     The  graceful  Dryads  disappear  in  the 
twilight.     Night  comes  on,  and  the  grim  spectres  of 
the  Northern  sagas  make  their  appearance,  rising 
from  the  caverns  of  the  earth  and  joining  in  the 
Wild   Hunt  in  the  air,  —  sad  presage  of  coming 
death  to  the  unfortunate  spectator  at  the  diabolical 
scene.    Darkness  has  overspread  the  forest,  and  the 
opening  theme,  with  its  fugal  treatment  and   fre- 
quent repetitions,  is  typical  of  the  stillness  of  night. 
That  stillness  is  soon  broken.      In  marked  rhythm 
the  strings  and  clarinets,  supported  by  the  'cellos 
and  bassoons,  announce  the  approach  of  the  Wild 
Hunt  and  its  unearthly  saturnalia.     It  is  needless 
to  follow  the  musical  devices  which  the  composer 
employs  to  produce  his  effect.     There  is  no  mis- 
taking the  meaning  of  this  orgy.     The  same  theme 
which  announced   the  tramp  of  the  hellish  crew 
tells  us  they  have  passed  by.     Once  more  the  Still- 
ness of  Night  theme  returns,  but,  like  Emerson's 
"  Brahma,"  they  "  turn  and  pass  and  come  again." 


THE    LENORE  SYMPHONY. 


209 


The  horrible  uproar  is  resumed ;  but  at  last  they 
disappear,  and  stillness  settles  down  once  more,  not 
to  be  disturbed  again  until  a  theme  from  the  first 
movement  appears.  It  is  the  dawn  of  breaking  day, 
and  from  this  we  pass  on  into  the  sunrise. 

SYMPHONY  No.  5  (LENOEE).     Op.  177. 

1.  Allegro.    Andante    quasi    larghetto.      (Liebesgliick. 

"  Happiness  in  Love.") 

2.  March  Tempo.    (Trennung.     "  Separation.") 

3.  Allegro.      (Wiedervereinegung.     "  Reunion  in  Death."    In- 

troduction and  Ballad  after  Biirger's  "  Lenore.") 

The  Lenore  is  confessedly  the  best  of  Raff's  sym- 
phonic works.  It  is  ^^Titten  in  illustration  of  Biir- 
ger's grewsome  ballad,  although  it  is  only  the  third 
movement  that  is  so  marked  by  the  composer.  In 
the  ballad  itself  the  maiden  Lenore  mourns  for  her 
lover  William,  who  has  gone  to  the  wars  and  from 
whom  she  has  received  no  tidings,  although  peace 
has  been  declared.  Hearing  nothing  of  him  from 
his  returning  comrades  she  becomes  frenzied,  and 
blasphemes.  In  the  night,  however,  there  is  a 
knock  at  her  door.  It  is  her  lover,  who  informs  her 
that  he  must  bear  her  away  a  hundred  leagues  to 
their  bridal  chamber.  She  mounts  his  steed  behind 
him,  and  away  they  fly  through  the  darkness.  They 
meet  with  many  grim  encounters  on  the  ride.  A 
train  of  mourners  bearing  a  corpse  to  the  grave  for- 
sake it  and  join  in  the  ghastly  ride.  Spectres  dan- 
cing about  a  gibbet  also  fall  in.     At  last,  as  day 

14 


210  THE  STANDARD  SYMPHONIES. 

dawns  they  rush  through  a  gate  into  a  cemetery, 
William  discloses  himself  to  her  as  a  skeleton,  and 
the  unfortunate  Lenore  at  last  finds  rehef  from 
her  sorrows. 

The  symphony  is  divided  into  three  parts,  the 
first  of  which,  "  Happiness  in  Love,"  consists  of 
two  movements  corresponding  to  the  first  Allegro 
and  Adagio  of  the  usual  symphonic  form.  They  are 
entitled  Allegro  and  Andante  quasi  larghetto.  The 
two  principal  themes  of  the  Allegro  are  simply  ex- 
pressions of  happy,  passionate  scenes  between  the 
two  lovers.  In  the  third  melody  tenderness  and 
longing  speak  out,  which  change  to  anxiety  and  fore- 
boding in  the  development  of  this  section  of  the 
movement.  The  second  part  of  the  movement  is  a 
delightful  representation  of  the  discourse  of  the 
lovers,  in  which  it  is  not  difficult  to  imagine  William 
listening  to  the  anxious  expressions  of  Lenore  and 
seeking  to  quiet  her  and  allay  her  apprehensions. 

The  second  movement  is  in  march  form,  for 
war  has  broken  out,  and  the  lover  must  take  his 
departure.  The  fascinating  march  is  so  familiar  by 
its  frequent  performance  that  it  hardly  needs  more 
than  mere  reference.  It  is  interrupted  by  an  epi- 
sode of  an  agitated  character,  which  graphically  de- 
picts the  parting  of  the  lovers  and  Lenore's  grief 
and  despair.  Then  the  march  is  resumed,  and  dies 
away  in  the  distance  as  the  movement  comes  to  a 
close. 

The  final  movement  is  the  one  which  the  com- 
poser has  indicated  as  being  after  Burger's  ballad. 


THE  LENORE   SYMPHONY.  211 

to  which  the  other  two  are  introductory.  It  opens 
with  a  plaintive  theme  given  out  by  the  strings,  sug- 
gestive of  Lenore  mourning  for  her  lover  as  she 
wakes  from  troubled  dreams.  Then  follows  an 
intimation  of  her  fate  in  a  brief  phrase  for  the  trom- 
bones. The  Trio  of  the  march  tells  the  story  of 
her  despair,  for  the  anny  has  returned  without  her 
lover.  Her  blasphemy  and  the  remonstrances  of  her 
mother  are  clearly  indicated.  The  recurrence  of 
the  first  theme  leads  up  to  a  rhythmical  figure  for 
the  viola,  representing  the  tramp  of  the  steed  bear- 
ing the  spectre  bridegroom.  The  bell  tinkles  softly, 
and  Lenore  descends  to  meet  her  lover.  Then  the 
'cellos  take  up  the  figure,  retaining  it  to  the  close. 
The  terrible  ride  begins.  The  bassoons  and  oboes 
carry  on  the  dialogue  between  the  spectre  and  his 
bride.  One  after  another  the  constantly  intensified 
and  impetuous  music  pictures  the  scenes  of  the 
ride,  the  'cellos  and  other  strings  keeping  up  their 
figure.  A  gloomy  dirge  tells  us  of  the  funeral  train, 
and  a  weird  theme  in  triple  time  of  the  spectres' 
dance  about  the  gibbet,  accompanied  by  wild  cries 
of  the  night  birds.  More  and  more  furious  grows 
the  ride  until  the  graveyard  is  reached,  when  after  a 
moment  of  silence  following  the  transformation,  a 
chorale  strain  is  heard,  with  a  sad  and  tender 
accompaniment.  The  wretched  maiden  has  at  last 
found  rest. 


212  THE  STANDARD  SYMPHONIES. 


SYMPHONY  No.  8,  IN  A  (FEUHLINGSKLANGE).    Op.  205. 

1.  Allegro.    ("  Nature's  Awakening.") 

2.  Walpurgis  Nacht. 

3.  Larghetto.     ("  First  Blossoms  of  Spring.") 

4.  Allegro.    ("The  Joys  of  Wandering.") 

The  symphony  No.  8,  in  A,  is  entitled  "  Friih- 
lingsklange  "  ("  Sounds  of  Spring  ")  and  is  the  first  of 
a  series  of  four,  the  other  three  being  "  Im  Sommer- 
zeit  "  ("  In  Summer  Time  "),  "  Zur  Herbstzeit  "  ("  In 
Autumn  "),  and  "  Im  Winter  "  ("  In  Winter  ").  The 
first  movement,  Allegro,  begins  with  a  long  Introduc- 
tion intended  to  depict  the  quiet  of  Nature  before 
the  awakening  from  her  winter  sleep.  It  opens  with 
long-drawn  pianissimo  chords  given  out  by  the  string 
orchestra,  with  bassoons,  to  which  the  first  horn  im- 
parts warmth  and  vitality  with  the  opening  tones  of 
the  first  subject.  The  oboe,  and  after  a  few  meas- 
ures the  flute,  take  up  the  theme  with  increasing 
life  ;  and  at  last  the  violins  give  decided  animation  to 
the  movement,  followed  by  the  wood  winds,  which 
furnish  bright  and  cheerful  color.  The  call  of  the 
various  instruments  is  answered  by  the  full  orchestra, 
which  announces  the  theme  entire,  and  with  it  the 
full  awakening  of  Nature  and  her  freedom  from  the 
sombre  influences  of  winter.  A  charming  pastoral 
episode  leads  up  to  the  second  theme,  —  a  spring 
song  for  the  violins,  followed  by  a  free  canon  for  the 
strings,  resolving  into  a  Coda  for  the  new  subject. 
The  development  of  the  two  themes  then  occurs  in 


THE  SYMPHONY  IN  A.  213 

the  usual  form,  and  the  reprise  closes  with  a  jubilant 
outburst  suggestive  of  a  chorus  of  praise. 

The  second  movement,  "  Walpurgis  Night,"  brings 
us  into  Mendelssohn's  world  of  fancy,  but  not  with 
his  light  and  airy  step.  It  is  weird  and  grotesque,  in- 
stead of  fanciful.  Witches  take  the  place  of  elves. 
They  enter  quietly  at  first,  but  as  their  numbers  in- 
crease, with  suggestions  of  the  Wild  Hunt,  —  a  super- 
naturalism  of  which  Raff  is  very  fond,  —  they  march 
on  to  their  May  orgies  amid  a  din  of  trumpets,  trom- 
bones, and  horns,  filling  the  air  with  horrid  sounds 
sufficient  to  scare  away  all  the  spring  nymphs  and 
dryads.  Their  song  accompanies  a  wild  and  furious 
Tarantella  as  they  perform  their  sacrifice.  Then 
comes  a  sudden  alarm  ;  and  the  ghostly  celebrants 
disperse,  for  the  dawn  is  approaching. 

The  third  movement,  Larghetto,  brings  welcome 
relief  after  all  this  blare  and  din.  It  is  entitled 
"The  First  Blossoms  of  Spring,"  and  opens  with  a 
suave  and  tender  melody,  most  poetically  orches- 
trated, and  treated  \vith  unusual  refinement  to  the 
end.  The  second  theme  is  equally  pretty  and  sen- 
timental, and  enhances  the  graceful  and  spring-like 
effect  of  the  movement.  The  theme  is  intoned  by 
the  violins  with  a  pizzicato  accompaniment  by  the 
'cellos,  which  in  turn  take  up  a  fresh,  melodious 
phrase,  the  violins  carrying  the  accompaniment  in 
graceful  semi-quavers.  In  the  close  there  is  an  ef- 
fective imitation  of  a  bell,  produced  by  the  flutes 
in  combination  with  the  pizzicato  of  the  second 
violins. 


214  THE  STANDARD  SYMPHONIES. 

The  fourth  movement,  "  The  Joys  of  Wandering," 
is  characterized  by  a  resumption  of  the  clamor  and 
noisy  resonance  of  the  first  two.  Spring,  with  its 
blossoms  and  songs  of  birds,  is  evidently  left  be- 
hind, and  the  wanderer  is  out  in  the  world  seeking 
freedom  and  happiness.  The  symphony  closes  with 
a  long  Coda  in  which  the  brass  instruments  domi- 
nate. Though  very  pleasing  by  its  variety  in  effects 
and  realistic  color,  it  has  not  made  such  an  impres- 
sion as  the  "  Lenore  "  or  "  Im  Walde,"  —  his  earher 
works ;  but  of  the  series  to  which  it  belongs  it  is 
unquestionably  the  most  popular. 


RHEINBERGER. 


OSEPH  GABRIEL  RHEINBERGER 
was  born  at  Vaduz,  in  Lichtenstein, 
March  17,  1839,  and  displayed  Iiis  mu- 
sical talent  at  a  very  early  age.  He 
studied  the  piano  in  his  fifth  year,  and  in  his  seventh 
was  organist  in  the  church  of  his  native  place.  At 
the  age  of  twelve  he  entered  the  Munich  Conser- 
vatory, where  he  remained  until  he  was  nineteen, 
when  he  was  appointed  one  of  its  teachers  ;  at  the 
same  time  he  became  organist  at  the  Hofkirche  of 
St.  Michael,  and  afterward  director  of  the  Munich 
Oratorio  Society,  In  1S67  he  was  appointed  pro- 
fessor and  inspector  of  the  Royal  Music  School, 
and  since  1877  has  been  the  royal  Hof kapell- 
meister, directing  the  performances  of  the  Kapell- 
chor,  —  an  organization  similar  to  that  of  the  Berlin 
Domchor.  He  is  a  very  prolific  comjioscr,  nearly 
two  hundred  works  having  proceeded  from  his  pen. 
Among  them  are  the  "  VVallcnstein  "  and  ""Flor- 
entine "  symphonies ;  a  Stabat  Mater ;  two  operas, 
"  The   Seven   Ravens "  and  "  Thlirmcr's   Tochtcr- 


2i6    THE  STANDARD  SYMPHONIES. 

lein ;  "  incidental  music  to  a  drama  of  Calderon ; 
a  symphony-sonata  for  piano ;  a  requiem  for  the 
dead  in  the  Franco-German  War ;  theme  and  va- 
riations for  string  quartet ;  a  piano  concerto ;  five 
organ  sonatas ;  the  choral  works  "  Toggenburg," 
"  Kliirchen  auf  Eberstein,"  "  Wittekind,"  and 
"  Christophorus ;  "  and  a  large  number  of  songs 
and  church  pieces,  besides  much  chamber  music. 


SYMPHONY  No.  1  (WALLENSTEIN).     Op.  10. 

1.  VORSPIEL. 

2.  Adagio.    ("  Thekla.") 

3.  Scherzo.      Poco  piu  moderato.    ( "  Wallenstein's  Camp. 

The  Friar's  Admonition.") 

4.  Finale.     ("Wallenstein's  Death.") 

The  great  hero  of  the  Thirty  Years'  War  has 
been  celebrated  by  Schiller  in  two  of  his  dramas,  — 
"  The  Piccolomini  "  and  "  The  Death  of  Wallen- 
stein."  The  former  is  introduced  by  a  one-act 
prologue  entitled  "  The  Camp  of  Wallenstein." 
They  are  episodes  from  this  trilogy  which  the  com- 
poser has  chosen  for  musical  illustration.  Thus  in 
the  Vorspiel,  or  prelude,  he  undertakes  a  sketch  of 
the  great  soldier  himself;  the  Adagio  brings  before 
us  a  picture  of  the  devoted  Thekla ;  the  Scherzo 
is  based  upon  the  prologue  already  mentioned ; 
and  the  Finale  delineates  the  close  of  the  tragical 
story. 

The    opening  movement,    an    Allegro,    entitled 
Vorspiel,  in  its  animated  principal  theme  sketches 


THE    WALLENSTEIN  SYMPHONY.       217 

the  hero  conscious  of  his  strength,  full  of  ambition, 
and  dominating  the  camp.  Other  themes  more 
tender  in  character  follow,  evidently  suggestive  of 
his  relations  to  Max  and  Thekla,  the  devoted  but 
sorrowful  princess  of  Friedland.  Short  and  sombre 
motives  occur,  foreshadowing  the  impending  doom 
of  the  hero.  The  Vorspiel  plays  the  same  part 
for  the  symphony  that  the  overture  does  for  the 
opera.  It  sketches  its  scenes  and  sentiment,  and 
its  themes  reappear  in  the  other  three  movements. 

The  Adagio,  entitled  "  Thekla,"  is  a  character- 
sketch,  opening  with  a  first  theme  of  extraordinary 
beauty.  The  second  theme,  given  out  by  the 
wind  instruments,  accompanied  by  the  violins,  is 
very  tender  and  plaintive  in  character,  and  is  evi- 
dently intended  for  a  picture  of  VVallenstein's 
daughter.  A  short  episode  follows,  touching  upon 
her  love  for  Max,  and  the  movement  closes  with 
a  delineation  of  the  unrest  which  ever  after  follows 
the  unfortunate  maiden. 

The  third  movement,  Scherzo,  "  Wallenstein's 
Camp,"  is  a  graphic  tone-picture  of  the  stirring, 
picturesque  scenes,  the  laxity  of  discipline,  the  mu- 
tinous character  of  the  soldiery,  and  the  utter  disre- 
gard of  all  law,  save  camp-law,  that  obtained  among 
Wallenstein's  insubordinate,  plundering  troops.  It 
opens  with  a  theme  full  of  gayety  and  abandon, 
given  out  by  the  violins,  followed  by  several  shorter 
themes  and  episodes  intended  as  pictures  of  the 
wild  scenes  among  the  Croats,  Uhlans,  Yagers, 
Cuirassiers,    and    camp-followers    of    Wallcnstein. 


2i8         THE  STANDARD  SYMPHONIES. 

After  the  development  of  this  material  the  prin- 
cipal subject  returns  and  leads  up  to  a  new  theme, 
—  an  old  Netherlandish  troopers'  song,  called 
"  William  of  Nassau,"  which  was  a  great  favorite 
in  the  time  of  the  Reformation.  After  its  develop- 
ment, which  is  accomplished  in  a  very  effective 
manner,  the  Trio,  poco  piu  moderato,  called  "  The 
Friar's  Admonition  "  (which  in  the  prologue  is  a 
scene  for  a  Capuchin  who  enters  amid  the  general 
revelry  and  hurls  his  maledictions  at  Wallenstein), 
begins  with  a  phrase  in  mock  ecclesiastical  style, 
leading  up  to  the  principal  theme,  to  which  subsid- 
iary phrases  respond,  evidently  suggestive  of  the 
soldiers'  taunts  and  menaces.  After  the  develop- 
ment of  these  episodes,  the  violins  give  out  a  light, 
vivacious  melody  in  dance  tempo.  At  the  close 
of  the  Trio,  the  Scherzo  is  repeated. 

The  Finale,  "  Wallenstein's  Death,"  opens  with 
a  short  prologue  foreshadowing  in  sombre  tones 
the  coming  tragedy.  The  movement  really  begins 
with  an  Allegro  vivace  which  recalls  martial  sur- 
roundings. The  hero  wanders  in  dreams,  and  the 
music  delineates  his  visions.  He  awakes,  and  again 
it  paints  the  bustle  of  camp-life,  then  changing  to 
an  Adagio,  as  the  hero  slumbers  again.  Thus  the 
music  alternates  between  the  spirited  scenes  of 
the  camp  and  Wallenstein's  dream-fantasie,  until 
the  trumpets  and  trombones,  in  wild  dissonances, 
accompanied  by  a  general  outburst  from  the  whole 
orchestra,  announce  the  catastrophe. 


-^ 


RUBINSTEIN. 


UBINSTEIN  occupies  a  unique  position 
among  all  his  musical  contemporaries. 
As  a  pianist,  he  holds  perhaps  the  first 
place  since  Liszt's  death.  At  the  same 
time,  as  a  composer,  —  not  alone  for  the  piano,  but 
in  a  more  marked  degree  as  a  writer  of  large  works 
for  orchestra  and  the  operatic  stage,  —  he  has  made 
an  extraordinary  success.  As  a  symphonic  writer 
of  the  romantic  school,  his  work  is  characterized  by 
the  originality  and  spontaneity  of  his  themes,  con- 
summate knowledge  of  orchestral  resources,  and 
boldness  and  unconventionality  in  handling  his  sub- 
jects ;  though  all  his  symphonies  are  in  the  ortho- 
dox form,  except  perhaps  the  "  Ocean,"  which  has 
been  amplified  and  extended  to  a  most  unusual 
length  since  it  was  first  written.  His  symphonies 
are  six  in  number.  The  First,  in  F  major,  was  writ- 
ten in  1854;  No.  2,  in  C  major  (the  "Ocean"), 
appeared  in  1868,  and  some  years  after  its  compo- 
sition he  added  another  slow  movement,  which  now 
stands  as   the   second,  and  an  additional  Scherzo, 


220  THE  STANDARD  SYMPHONIES. 

which  is  the  fifth,  —  making  six  movements  in  all. 
The  Third  symphony,  in  A  major,  was  written  in 
1870 ;  and  the  Fourth  (the  "  Dramatic  "),  in  D  mi- 
nor, in  1875.  The  Fifth,  in  G  minor,  was  written  in 
1880,  and  is  dedicated  to  the  memory  of  the  Grand 
Duchess  H^lene  Paulowna,  his  early  friend  and  pa- 
tron. No.  6,  in  A  minor,  was  written  in  1886,  but 
does  not  sustain  the  reputation  of  its  predecessors. 


SYMPHONY  No.  2,  IN  C  MAJOR  (OCEAN).     Op.  42. 

1.  Allegro  maestoso. 

2.  Adagio  non  tanto. 

3.  Scherzo. 

4.  Finale.     Allegro  con  fuoco. 

5.  Adagio.    (Supplementary.) 

6.  Scherzo.    (Supplementary.) 

The  Ocean  symphony,  written  in  1868,  is  dedi- 
cated to  Franz  Liszt,  the  founder  of  the  programme- 
music  of  the  new  school.  Although  generally 
considered  that  it  has  no  definitely  pronounced 
character  of  tone-painting,  the  writer  has  it  from  the 
lips  of  the  composer  that  the  headings  for  the  dif- 
ferent movements,  if  he  had  wanted  to  make  use  of 
them,  would  have  been  somewhat  like  this  :  First 
movement,  wind  and  water;  Adagio,  an  evening 
on  the  ocean;  Scherzo,  dance  of  Tritons  and 
Naiads ;  while  the  idea  of  a  triumphal  procession 
of  Neptune  and  his  attendants  underlies  the  Finale. 
With  the  supplementary  numbers  five  and  six  the 
composer  laughingly  remarked,  "  I  am  trying  to  get 


THE  SYMPHON-Y  IN  C  MAJOR.  221 

on  dry  land  again."  As  they  are  not  likely  to  be 
performed  in  connection  with  the  symphony,  it  is 
not  necessary  to  consider  them. 

The  opening  movement,  an  Allegro  maestoso  in 
C  major,  begins  with  the  chord  of  the  tonic,  in  a 
tremolo  piano  for  two  measures,  above  which  rises 
in  the  third  measure  a  figure  in  the  flutes  which 
sounds  like  the  springing  up  of  a  gentle  breeze. 
Later  on,  this  airy  triplet  figure  is  offset  by  a  motive 
for  the  violins,  which,  by  its  even  motion  of  quarter 
notes  and  the  rise  and  fall  of  its  melody,  seems  to 
portray  the  slow  rolling  of  the  mighty  waves.  But 
although  such  outward  signs  are  obvious,  we  cannot 
call  this  music  "  programme-music  "  in  the  sense 
that  Liszt  used  the  thematic  treatment  in  his  sym- 
phonic poems.  It  is  rather  the  appropriate  expres- 
sion of  an  artistic  temperament  fully  imbued  with 
the  grandeur  and  beauty  of  Nature  (in  this  case  the 
ocean),  and  foregoing  every  temptation  to  draw  on 
the  resources  of  mechanical  dexterity  to  astonish  or 
coax  the  public.  The  symphony  breathes  the  spirit 
of  Beethoven  ;  and  the  melodic  richness  and  poetic 
treatment  of  the  separate  episodes,  broadening  into 
solemn  grandeur  as  the  movement  proceeds,  place 
Rubinstein  in  the  front  rank  of  the  later  sympho- 
nists.  To  single  out  suggestive  phrases  and  striking 
instrumental  combinations  would  lead  too  far  in  a 
short  review  like  this,  and  would  not  enhance  the 
pleasure  we  feel  in  listening  to  this  great  work,  so 
overpoweringly  suggestive  of  the  wondrous  theme 
of  Nature. 


222  THE  STANDARD  SYMPHONIES. 

The  Adagio  non  tanto,  in  E  minor,  common 
time,  has  for  its  leading  theme  a  sombre  and  pa- 
thetic melody.  Night  has  spread  over  the  water, 
and  the  starry  heavens  span  the  billowy  deep ;  but 
in  the  music  human  interest  predominates  in  this 
solitude  of  Nature.  It  is  the  contemplative  dream- 
ing of  the  man,  the  yearning  of  the  human  heart 
for  the  mystery  shrouded  from  mortal  vision  by 
the  vast  expanse,  the  almost  agonized  cry  for  the 
solution  of  the  riddle  of  life,  while  trying  to  pierce 
the  impenetrable  void  between  the  glittering  can- 
opy of  night  and  its  dark-faced  mirror.  The  ques- 
tioning step  of  the  major  fourth,  D,  E  flat,  A ;  the 
long-sounding  call  of  the  horn  through  the  still 
night ;  and  the  ever-rippling  motion  in  the  ac- 
companiment, —  are  expressions  of  the  poetic  na- 
ture of  the  composer  through  a  medium  as  natural 
to  him  as  human  speech. 

The  third  movement,  or  Scherzo,  is  an  Allegro 
in  4  time,  in  G  major,  and  displays  the  rollicking 
sport  of  the  sea-people.  The  ponderous  gyrations  of 
the  basses  at  the  opening  may  represent  the  sports 
of  Tritons  or  sailors.  The  accompaniment  is  full  of 
original  force  and  humor,  often  broad  and  at  times 
unrestrained,  and  displaying  a  certain  barbaric  trait 
in  the  composer.  Frequent  hearing  or  thorough 
study,  however,  will  reveal  a  dexterity  in  the  hand- 
ling of  the  profuse  material  scattered  throughout  the 
movement  not  often  found  in  Rubinstein. 

The  Finale,  Allegro  con  fuoco,  in  the  step  of  the 
third  in  the  first  motive,  has  the  germ  of  pompous 


THE  SYMPHON'Y  IN  D  MINOR.  223 

festivity,  which,  although  relieved  by  strains  of  a 
quieter  character,  dominates  the  whole  movement, 
and  reaches  its  climax  in  a  grand  chorale.  The 
trombones  carry  the  noble  hymn  through  the  agi- 
tation of  roaring  waves,  which  storm  against  it  in 
the  rushing  figures  of  the  violins,  and  bring  this 
grand  ocean  poem  to  an  imposing  and  befitting 
close.  The  plastic  lines  of  the  Finale  are  drawn 
in  grand  and  noble  fashion ;  and  although  the 
detailed  working-out  does  not  have  the  charm  of 
the  first  movement,  the  music  nowhere  loses  itself 
in  mere  play  of  sound,  but  retains  the  noble  char- 
acter throughout.  Whatever  may  be  said  of  Ru- 
binstein's other  symphonies  and  orchestral  writings, 
with  the  "  Ocean  "  he  has  firmly  established  him- 
self as  one  of  the  world's  great  composers. 


SYMPHONY  No.  4,  IN  D  MINOR  (DRAMATIC).     Op.  95. 

1.  Lento.    Allegro  moderato. 

2.  Presto.    Allegro  ma  non  troppo. 

3.  Adagio. 

4.  Largo.    Allegro  con  fuoco. 

The  Dramatic  symphony  (Symphonic  Dramatique), 
next  to  the  "Ocean  "the  greatest  of  Rubinstein's 
works  of  this  kind,  was  written  in  1875,  and  first  pro- 
duced at  a  concert  given  by  the  St.  Petersburg  Con- 
servatory in  that  year.  It  is  written  for  full  orchestra, 
thus  placing  the  most  complete  resources  in  the 
hands  of  the  composer  ;  and  in  technical  skill,  bold- 
ness of  treatment,  and  largeness  of  conception  is  a 


224  ^-^^  STANDARD  SYMPHONIES. 

masterpiece  of  musical  art.  It  illustrates  no  partic- 
ular programme,  like  the  "  Ocean,"  but  is  evidently 
intended  to  impress  the  emotions  of  the  hearer 
through  the  agency  of  music  in  the  same  manner  as 
the  hearer  would  be  influenced  by  the  progress  of 
a  drama.  To  accomplish  this  the  composer  has 
given  free  rein  to  his  fancy  and  moods,  and  uses 
strange  melodic  forms,  eccentric  rhythms,  and  un- 
usual changes  of  tempo  ad  libitum. 

The  first  movement,  Lento,  developing  to  Alle- 
gro moderato,  is  essentially  tragic  in  its  style,  though 
its  themes  are  simple,  despite  their  elaborate  treat- 
ment and  its  intrinsic  difficulties.  The  introduc- 
tion, Lento,  opens  with  a  theme  given  out  by  the 
bass  strings  in  unison.  It  is  subjected  to  an  ingen- 
ious variety  of  treatment,  passing  from  instrument 
to  instrument  and  repeated  in  many  combinations, 
finally  leading  up  to  the  Allegro  moderato,  or  real 
opening  of  the  movement.  It  begins  with  a  theme 
which  is  developed  in  a  truly  dramatic  manner, 
speaking  out  in  interjectory  phrases,  fragmentary 
episodes,  and  even  sharp  dissonances,  rather  than  in 
a  smooth,  flowing  expression  of  musical  thought,  and 
leading  up  to  a  short  prelude  consisting  of  a  gentle 
strain  sung  by  the  clarinet,  with  accompaniment  by 
the  strings  and-  introducing  the  second  theme,  a 
stately  melody  given  out  by  the  horns  and  bassoons 
and  answered  by  the  strings, —  a  struggle,  as  it  were, 
between  hope  and  doubt.  These  two  themes  are 
skilfully  combined  with  other  matter,  and  prepare 
the  way  for  the  introduction  of  still  another  broad 


THE  SYMPHONY  IN  D  MINOR.         225 

and  heroic  theme,  which  closes  the  first  part  of  the 
movement.  Tlie  development  of  the  remainder 
of  the  movement  is  masterly.  There  are  allusions 
to  all  the  themes.  Sometimes  they  appear  in  sharp 
conflict  and  again  are  involved  with  fresh  thematic 
ideas.  As  the  movement  draws  to  its  close,  start- 
ling dissonances  and  complicated  chromatic  pas- 
sages occur,  but  they  finally  resolve  themselves,  and 
the  principal  themes  are  asserted  with  unmistakable 
force  and  expression,  continually  increasing  in  en- 
ergy to  the  end. 

The  second  movement.  Presto,  begins  with  short, 
sharp  signals  and  intervening  pauses,  introducing  a 
furious  but  very  rhythmical  theme  which  dominates 
the  whole  movement.  In  the  Moderato  assai  a  vio- 
lin solo  of  a  grotesque  character  occurs.  This  and 
other  episodes  of  a  somewhat  eccentric  character 
give  a  pleasing  variety  to  the  first  part.  The  furious 
Presto  soon  returns  to  give  place  to  a  delicate  and 
pleasing  Trio  based  upon  two  principal  subjects, 
accompanied  by  a  great  variety  of  melodic  figures 
which  play  an  important  part  in  the  development. 
The  Presto  is  then  repeated,  and  a  phrase  from 
the  Trio  forms  the  Coda. 

The  Adagio  is  a  simple,  beautiful  movement,  in 
striking  contrast  with  what  has  pre(Sfeded  it.  It  has 
three  principal  themes,  —  the  first  given  out  by  the 
violins,  the  second  by  the 'cellos,  and  the  third  again 
by  the  violins.  It  opens  with  an  exquisitely  tender 
and  graceful  melody,  developed  in  a  delightfully  har- 
monious manner  and  finally  giving  way  to  the  second 

15 


226  THE  STANDARD  SYMPHONIES. 

theme,  equally  beautiful  but  more  energetic.  At 
its  close  the  opening  theme  is  again  heard,  first 
stated  by  the  horns  and  then  as  a  clarinet  solo,  with 
string  accompaniment.  At  its  conclusion  a  third 
subject  appears,  given  out  by  the  violins.  The 
elaboration  of  these  themes  is  accompanied  by  a 
chorale-like  strain  for  the  bass  strings,  which  gives  a 
religious  tone  to  the  close. 

The  Finale  opens  with  an  introductory  Largo 
for  the  full  orchestra,  at  the  close  of  which  the 
Allegro  con  fuoco  enters  with  furious  energy  upon  a 
theme  for  all  the  strings  in  unison,  followed  by  an 
auxiliary  subject  which  is  hardly  more  than  stated 
before  the  first  theme  returns,  this  time  the  melody 
being  in  the  basses,  and  the  violins  accompanying. 
These  two  subjects  are  developed  in  the  most  elab- 
orate and  grandiose  manner,  the  fiery,  energetic 
character  of  the  movement  being  always  preserved. 
During  their  development  a  new  phrase  appears 
for  the  violins  which  is  treated  in  ingenious  varia- 
tions. The  remainder  of  the  movement  is  occupied 
with  the  broad  and  dignified  treatment  of  this 
thematic  material,  with  numerous  episodes  inter- 
woven. It  flows  on  with  resistless  force,  constantly 
gathering  fresh  energy  as  new  ideas  are  added,  and 
finally  closes  with  a  triumphant  outburst  in  which 
the  principal  subject  is  heard  again  asserting  its 
superiority. 


SAINT-SAENS. 

HARLES  CAMILLE  SAINT-SAENS  was 
born  in  Paris,  Oct.  9,  1835.  He  began 
the  study  of  the  piano  in  his  seventh  year 
with  M.  Stambati,  and  of  composition  with 
M.  Maleden.  His  organ  master  was  M.  Benoit,  and 
under  his  tuition  he  made  such  good  progress  that  he 
took  the  Conservatory  second  prize  in  1849  ^^^  the 
first  prize  in  185 1.  In  1853  he  was  appointed  organist 
at  the  Church  of  St.  Mery  in  Paris,  and  five  years 
later  secured  the  same  position  at  the  Madeleine, 
where  he  remained  nineteen  years,  finally  resigning 
in  favor  of  Theodore  Dubois.  Since  those  days  he 
has  become  eminent  as  a  composer.  His  operatic 
career  began  about  1872  with  "La  Princesse 
jeune."  "  Le  Timbale  d'Argent "  followed  in  1877, 
"  Samson  et  Dalila"  in  the  same  year,  and  "  Eticnne 
Marcel  "  in  1879.  Among  his  oratorios  and  cantatas 
are  the  "  Oratorio  de  Noel,"  "  Le  Deluge,"  "  Les 
Soldats  de  Gddd^on  "  and  "  La  Lyre  et  la  Harpe." 
His  symphonies  are  five  in  number:  No.  i,  E 
flat  (1S51);   No.   2,  F   (1856);    No.  3,  A  minor 


2  28  THE  STANDARD  SYMPHONIES. 

(1878);  No.  4,  D  (1883)  ;  and  No.  5,  C  minor 
(1886).  Besides  these  he  has  written  the  sym- 
phonic poems  :  "  Danse  Macabre  ;  "  "  La  Rouet 
d'Omphale  ;  "  "  Pliaeton ;  "  and  "  La  Jeunesse 
d'Hercules." 

SYMPHONY  No.  3,  IN  A  MINOE.     Op.  55. 

1.  Allegro  marcato.    Allegro  passionato. 

2.  Adagio. 

3    Scherzo.    Presto. 
4.  Prestissimo. 

Saint-Saens's  Third  symphony,  dedicated  to  the 
late  M.  Pasdeloup,  the  eminent  Parisian  conductor, 
was  written  in  1878.  It  is  scored  for  full  orchestra, 
except  trombones,  and  is  characterized  by  the 
gracefulness  rather  than  the  depth  of  its  ideas.  Two 
strong  chords  leading  to  an  animated  passage  for 
the  strings,  which  is  recitative  in  its  style,  and  a 
short  episode  lead  to  the  first  theme,  Allegro  pas- 
sionato, given  out  by  the  violins,  which  after  imita- 
tion by  the  other  strings  gives  place  to  the  second 
theme.  The  two  subjects  are  then  ingeniously  and 
spiritedly  combined.  After  the  inversion  of  the 
second,  forming  a  new  melody,  a  third  subject  ap- 
pears for  flute  and  strings.  The  three  are  then 
combined  in  various  positions  until  the  first  reap- 
pears. The  second  is  used  episodically.  There 
are  reminiscences  of  the  Introduction,  and  a  Coda 
formed  out  of  the  third  closes  the  movement. 

The  Adagio  is  a  charming  movement  for  its 
grace,  delicacy,  and  sweetness,  though  very  short. 


THE  SYMPHONY  IN  A   MINOR. 


229 


It  is  built  up  on  two  themes,  —  the  first  of  a  pas- 
toral character,  for  the  strings,  con  sordini ;  and  the 
second  for  the  English  horn,  with  strings,  this  instru- 
ment being  used  with  peculiarly  happy  effect. 

The  Adagio  is  in  the  major  key,  but  the  Scherzo 
returns  to  the  minor.  There  is  no  seriousness  in 
the  movement,  however.  It  opens  with  a  lively, 
piquant  theme,  which  after  varied  repetitions  gives 
place  to  a  second  theme,  introduced  by  the  horns 
and  taken  up  by  the  strings  and  oboes.  The  first 
theme  is  repeated,  and  leads  to  a  solo  for  the  oboe. 
The  development  of  this  material  is  very  skilful,  and 
with  a  vigorous  pizzicato,  accompanied  by  the  wind 
instruments  in  sustained  chords,  the  movement 
closes. 

The  final  movement.  Prestissimo,  is  rightly  char- 
acterized. It  is  an  exhilarating  dance  rhythm  of 
the  Saltarello  order,  starting  off  with  a  theme  for  the 
first  violins,  accompanied  by  the  other  strings  piz- 
zicato. The  vigorous  skipping  melody  is  followed 
by  a  second  theme  which  preserves  the  same 
rhythm.  The  two  are  then  combined  in  a  diversity 
of  styles,  and  gather  fresh  interest  as  the  horns  take 
up  the  merry  effect,  the  piccolo  doing  good  ser\'ice 
with  the  melody.  After  a  slower  episode  the  first 
theme  reappears  and  goes  skipping  off  again  in  its 
spirited  dance.  In  the  Coda,  the  second  theme  is 
heard  in  unison  among  the  strings,  and  with  a  few 
strong,  harmonious  chords  the  symphony  closes. 


230         THE  STANDARD  SYMPHONIES. 


SYMPHONY  No.  5,  IN  C   MINOK.     Op.  78. 

1.  Adagio.    Allegro  moderato.    Poco  adagio, 

2.  Allegro  moderato.    Presto.    Maestoso.    Allegro. 

Saint-Saens's  Fifth  symphony  was  written  for  the 
London  Philharmonic  Society ;  and  its  first  perform- 
ance (July  19,  1886)  was  conducted  by  the  com- 
poser himself.  It  is  somewhat  remarkable  for  its 
innovations,  —  such  as  the  division  of  the  symphony 
into  two  parts,  though  in  reality  they  contain  in 
themselves  in  a  vague  way  the  conventional  sym- 
phonic movements  linked  together,  "  to  avoid,"  says 
the  composer,  "  the  endless  resumptions  and  repe- 
titions which  more  and  more  tend  to  disappear  from 
instrumental  music  under  the  influence  of  increas- 
ingly developed  musical  culture,"  —  also  for  the  un- 
usual combination  of  instruments,  the  prominent 
place  he  gives  to  some  which  usually  play  a  sec- 
ondary part,  and  his  new  ideas  in  their  arrange- 
ment and  use,  which  he  justifies  upon  the  plea  that 
"  symphonic  works  should  benefit  by  the  progress 
of  modern  instrumentation."  The  peculiar  redis- 
tribution of  parts  will  be  observed  in  the  following 
array  :  Three  flutes,  two  oboes,  one  English  horn, 
two  clarinets,  one  bass  clarinet,  two  bassoons,  one 
double  bassoon,  two  horns,  two  valve  horns,  one 
trumpet,  two  valve  trumpets,  three  trombones, 
one  tuba,  three  drums,  organ,  pianoforte,  one  tri- 
angle, one  pair  of  cymbals,  one  bass  drum,  and  the 
customary  strings. 


THE  SYMPHONY  IN  C  MINOR.  2^-1 

Upon  the  occasion  of  the  first  performance  of 
this  symphony,  the  composer  himself  prepared  an 
analysis  of  its  contents  and  structure  for  the  pro- 
gramme, which  we  fireely  follow.  After  a  slow  and 
plaintive  introduction  for  violins  and  oboes,  the 
string  quartet  gives  out  the  first  theme,  sombre  and 
agitated  in  character,  which  after  transformation 
by  the  wind  instruments  leads  to  a  second  subject, 
marked  by  greater  repose.  After  a  short  develop- 
ment, presenting  the  two  themes  simultaneously,  the 
second  reappears  in  new  and  striking  form,  though 
brief  in  its  duration.  This  is  followed  by  a  fresh 
transformation  of  the  first  theme,  through  the  rest- 
lessness of  which  are  heard  at  intervals  the  plaintive 
notes  of  the  opening  Adagio.  Various  episodes, 
introducing  a  gradual  feeling  of  repose,  lead  to  the 
Adagio,  in  D  flat,  the  subject  of  which  is  given  out 
by  the  violins,  violas,  and  'cellos,  sustained  by  organ 
chords.  It  is  then  assigned  to  clarinets,  horn,  and 
trombone,  accompanied  by  the  divided  strings. 
After  a  fanciful  and  elaborate  violin  variation,  the 
second  transformation  of  the  initial  theme  of  the 
Allegro  reappears,  restoring  the  old  restlessness, 
which  is  still  further  augmented  by  dissonant  har- 
monies. The  principal  theme  of  the  Adagio  then 
returns,  this  time  played  by  a  violin,  viola,  and  'cello 
solo,  accompanied  by  the  chords  of  the  organ  and 
the  persistent  rhythm  in  triplets  of  the  preceding 
episodes.  The  movement  closes  with  a  Coda, 
"  mystical  in  sentiment,"  says  the  composer. 

The  second  movement,  Allegro  moderato,  opens 


232 


THE  STANDARD  SYMPHONIES. 


with  a  vigorous  figure,  which  is  at  once  followed  by 
a  third  transformation  of  the  initial  theme  of  the 
first  movement,  in  more  agitated  style  than  the 
others,  and  limited  to  a  fantastic  character  which  de- 
clares itself  in  a  tumultuous  Presto,  through  which 
flash  at  intervals  the  arpeggios  and  rapid  scale  pas- 
sages of  the  pianoforte,  accompanied  by  a  synco- 
pated rhythm  in  the  orchestra,  and  interrupted  at 
last  by  an  expressive  motive.  After  the  repetition  of 
the  Allegro  moderato,  a  second  Presto  is  introduced, 
in  which  shortly  appears  a  calm,  earnest  figure  for 
trombones,  in  striking  contrast  with  the  fantastic 
character  of  the  first  Presto.  There  is  an  evident 
conflict  between  the  two,  ending  in  the  defeat  of 
the  latter ;  and  after  a  vague  reminiscence  of  the 
initial  theme  of  the  first  movement,  a  Maestoso  (C 
minor)  announces  the  ultimate  triumph  of  the  new 
and  earnest  figure.  The  initial  theme  of  the  first 
movement  in  its  new  form  is  next  stated  by  the  di- 
vided strings  and  the  pianoforte  (four  hands),  and 
taken  up  by  organ  and  full  orchestra.  After  devel- 
opment in  three-bar  rhythm,  there  is  an  episode 
for  organ,  followed  by  a  pastoral  theme  twice  re- 
peated. A  Coda,  in  which  the  initial  theme  by  a  last 
transformation  appears  as  a  violin  passage,  finishes 
this  unique  work. 


SCHUBERT. 

CHUBERT'S  symphonic  works  are  com- 
paratively unknown  to  the  world,  with 
the  exception  of  the  Eighth  and  Ninth, 
and  the  former  is  only  a  fragment.  They 
had  no  influence  in  their  day,  as  they  were  not 
performed  during  the  composers  life-time.  The 
two  mentioned  above  were  not  played  so  that  the 
musical  world  recognized  their  beauty  until  many 
years  after  his  death  ;  but  they  have  made  an  im- 
pression which  will  unquestionably  be  lasting.  The 
others,  with  the  exception  of  the  Fourth,  are  un- 
familiar, and  the  Fourth  is  principally  known  only 
by  its  beautiful  Andante  movement.  Like  Beet- 
hoven, he  wrote  nine,  so  far  as  now  known,  but 
it  was  not  until  the  Eighth  that  he  succeeded  in 
infusing  his  symphonic  work  with  his  own  in- 
dividuality, so  clearly  expressed  in  its  melodiousness 
and  orchestral  color,  and  displayed  freedom  and 
originality  both  in  design  and  treatment.  The 
influence  of  the  Lied  was  always  strong  with  him, 


234        ^-^-^^  STANDARD  SYMPHONIES. 

and  it  is  clearly  manifest  in  his  symphonies,  in  which 
the  lyric  element  can  easily  be  traced.  They  are 
literally  tone-poems.  Sir  George  Grove,  an  en- 
thusiastic admirer  of  Schubert,  in  an  appendix  to 
Kreissle  von  Ilellborn's  life  of  the  composer,  has 
thrown  much  light  upon  the  identity  of  his  sym- 
phonies. The  First,  or  the  earliest  known,  in  D, 
was  written  in  1813,  Schubert  being  then  in  his 
seventeenth  year;  the  Second,  in  B  flat,  in  1815  ; 
the  Third,  in  D,  in  1815  ;  the  Fourth,  in  C  minor, 
known  as  the  "Tragic,"  in  1816;  the  Fifth,  in  B 
flat,  undated  ;  the  Sixth,  in  C  major,  in  1818;  the 
Seventh,  in  E,  incomplete,  in  1821  ;  the  Eighth,  in 
B  minor,  incomplete,  in  1822;  and  the  Ninth,  in 
C,  in  1828,  written  eight  months  before  his  death, 
and  after  an  interval  of  five  and  a  half  years  since 
the  Eighth. 

SYMPHONY  No.  8,  IN  B   MINOR  (UNFINISHED). 

1.  Allegro  moderato. 

2.  Andante  con  moto. 

Schubert's  Eighth  symphony  is  but  a  fragment. 
The  first  two  movements  are  complete.  There  are 
nine  bars  of  a  Scherzo,  and  with  them  the  symphony 
stops ;  and  yet  among  all  of  the  composer's  works, 
not  one  is  more  beautiful  in  ideas  or  perfect  in  form 
than  this.  No  more  of  it  has  ever  been  found,  and 
no  one  knows  why  Schubert  should  have  abandoned 
it.  The  first  page  of  the  score  is  dated,  "  Vienna, 
Oct.  30,  1822."     For  forty-five  years  it  remained 


THE  SYMPHONY  IX  B  MINOR.  235 

unknown,  and  it  is  due  to  Sir  George  Grove  that 
it  was  rescued  from  its  obscurity  and  given  to  the 
world  for  its  constantly  increasing  delight.  That 
celebrated  critic  says  of  it :  "  Every  time  I  hear  it 
I  am  confirmed  in  the  belief  that  it  stands  quite 
apart  from  all  other  compositions  of  Schubert  or 
any  other  master.  It  must  be  the  record  of  some 
period  of  unusual  atiendrissement  and  depression, 
unusual  even  for  the  susceptible  and  passionate 
nature  of  Schubert."  The  score  was  published  in 
1867,  and  the  first  performance  was  given  at  the 
Crystal  Palace,  London,  on  the  6th  of  April  in  the 
same  year.  Since  that  time  the  symphony  has 
become  one  of  the  favorite  numbers  on  the  concert- 
stage. 

The  Allegro  opens  at  once  and  without  intro- 
duction with  an  impressive  subject  given  out  by 
the  'cellos  and  basses.  At  its  close  the  oboes  and 
clarinets  take  up  a  melodious  theme  pianissimo, 
the  violins  accompanying  it  in  an  agitated  manner. 
After  a  short  development  of  this  theme  the  'cellos 
enter  with  a  melody  which  will  never  cease  to  fas- 
cinate the  hearer  with  its  wonderful  beauty  and 
grace  of  motion.  After  its  repetition  by  the  violins 
in  octaves  there  comes  a  pause  followed  by  a  most 
passionate  ileclaration  in  the  minor,  as  if  to  drown 
the  memory  of  the  former  moment  of  happiness. 
The  beautiful  theme  again  returns,  however,  and 
the  first  part  of  the  movement  closes  with  a  struggle 
between  these  expressions  of  perfect  happiness  and 
wild   passion.      The    second   part   opens  with   the 


236    THE  STANDARD  SYMPHONIES. 

original  subject  varied  for  the  basses,  which  is 
grandly  developed  amid  full  orchestral  outbursts 
up  to  a  powerful  climax.  As  it  dies  away,  the  first 
theme  re-enters,  and  is  again  treated  with  charming 
variety,  the  whole  closing  with  another  climax  in 
which  the  opening  subject  forms  the  material  of 
the  Coda. 

The  Andante  begins  with  an  introductory  passage 
for  the  horns  and  bassoons,  the  double-basses  ac- 
companying pizzicato,  leading  up  to  another  lovely 
theme  given  out  by  the  violins.  After  a  striking 
development  of  this  theme  the  second  subject  is 
stated  by  the  clarinets  with  string  accompaniment, 
repeated  by  the  oboe  with  the  addition  of  a  new 
phrase,  in  which  the  flute  joins.  The  whole  or- 
chestra follows  with  stately  harmony,  succeeded  by 
an  episode  which  leads  up  to  a  new  treatment  of 
the  second  theme  by  the  strings.  Then  follows 
the  customary  repetition  in  brilliant  detail.  The 
Coda  is  full  of  melodious  beauty,  and  closes  this 
delightful  work. 


SYMPHONY   No.  9,  IN  C  MAJOK. 

1.  Andante.    Allegro  ma  non  troppo. 

2.  Andante  con  moto. 

3.  Scherzo.    Allegro  vivace. 

4.  Finale.     Allegro  vivace. 

The  symphony  in  C,  the  last  and  culminating 
work  of  Schubert's  genius,  is  literally  his  swan- 
song.     It  was  begun  in  March,  1828,  and  on  the 


THE  SYMPHOA'Y  JN  C  MAJOR.  237 

19th  of  November  of  the  same  year  he  passed 
away.  After  the  completion  of  the  work  he  gave 
its  score  to  the  Musik-Verein  of  Vienna;  but  it 
was  found  too  difficult  for  performance,  and  was 
laid  aside  at  Schubert's  own  request.  After  his 
death,  however,  the  Verein  seems  to  have  been 
animated  with  fresh  zeal,  as  it  mastered  the  work. 
On  the  1 2th  of  December  following  his  death,  it 
was  produced  at  the  Redouten-Saal  in  that  city, 
and  was  repeated  in  the  ensuing  March.  It  was 
then  neglected  and  forgotten  until  1838,  in  which 
year  Schumann  visited  Vienna,  and  finding  the 
score,  obtained  permission  to  take  it  with  him.  He 
at  once  went  to  Leipsic,  where  Mendelssohn  was 
at  that  time  conducting  the  Gewandhaus  concerts, 
and  together  the  two  friends  and  composers  studied 
it.  It  did  not  take  them  long  to  discover  its  beauty, 
notwithstanding  its  length.  It  was  performed  at 
the  Gewandhaus,  March  22,  1839,  and  Schumann, 
writing  of  the  impression  produced  upon  him, 
says  :  — 

"  One  must  appreciate  that  more  than  mere  melody, 
something  above  sorrow  and  joy,  lies  concealed  in 
tliis  symphony.  Nay,  more  !  In  listening  to  sympho- 
nies like  this,  we  are  transported  to  a  region  where 
we  never  remember  to  have  been  before.  Here  we 
have,  besides  masterly  power  over  the  musical  tech- 
nicality of  composition,  life  in  all  its  phases,  color  in 
exquisite  gradations,  the  minutest  accuracy  and  fitness 
of  expression,  and  permeating  the  whole  work  a  spirit 
of  romance  such  as  we  recognize  in  other  works  of 
Franz     Schubert.       This     heavenly,    long-drawn-out 


238  THE  STANDARD  SYMPHONIES. 

symphony  is  like  some  romance  of  Jean  Paul's  which 
ought  never  to  end." 

There  is  no  motto  to  give  us  a  clew  to  the  com- 
poser's meaning  in  any  part  of  the  symphony,  ex- 
cept a  mere  hint,  "a  la  Zingaresa,"  over  one  theme. 
Schubert's  residence  in  Hungary  at  the  country- 
seat  of  Count  Esterhazy  has  left  a  certain  impress 
upon  many  of  his  works ;  and  if  we  consider  the 
manner  in  which  he  reproduced  the  spirit  of  Hun- 
garian music  in  his  piano  divertisement  for  four 
hands  we  shall  certainly  find  an  undercurrent  of 
the  same  feeling  in  this  symphony,  and  particularly 
in  the  first  two  movements.  The  Finale  has  been 
compared  to  an  illustration  of  the  myth  of  Phaeton 
and  his  adventures  in  the  chariot  of  the  sun,  but 
this  is  a  mere  fancy. 

The  first  movement  opens  with  an  introductory 
Andante,  the  tender,  fairy-like  melody  of  which  is 
assigned  to  the  horns  alone,  afterward  repeated 
by  oboes  and  clarinets.  After  working  up  at  some 
length  a  start  is  made  pianissimo,  and  a  grand 
crescendo,  enlivened  by  a  triplet  figure,  leads  to 
the  Allegro,  the  strings  giving  out  the  bold,  deci- 
sive first  theme  answered  by  the  winds  in  triplets. 
The  second  theme,  stated  by  the  oboes  and  bas- 
soons, is  in  striking  contrast  with  the  first,  and  really 
estabhshes  the  rhythm  of  the  movement.  An  epi- 
sode growing  out  of  this  theme,  and  a  third  broad 
subject  in  which  the  trombones  are  employed  with 
striking  effect,  constitute  the  principal  material  of 
the  movement.     The   Coda  is   long  and   copious, 


THE  SYMPHONY  IN  C  MAJOR.         239 

closing  in  rather  accelerated  tempo  marked  by  a 
repetition  of  the  triplet  figure  of  the  initial  theme. 

The  Andante  opens  with  a  short  prelude  for  the 
strings,  after  which  the  oboe  starts  off  with  the  first 
theme,  —  a  quaint,  plaintive,  bewitching  strain  which 
has  every  characteristic  of  gypsy  music,  closing  with 
a  significant  four-note  cadence  which  seems  to  have 
haunted  Schubert  throughout  the  rest  of  the  work. 
The  theme  is  repeated  with  variation  and  the 
addition  of  the  clarinet,  after  which  the  oboe  gives 
out  a  new  phrase  succeeded  by  an  episode  of  an 
agitated,  even  furious,  character,  after  which  the 
fascinating  first  theme  returns.  The  second  sub- 
ject, entering  pianissimo,  is  ingeniously  treated,  and 
closes  with  a  charming  horn  episode  of  which 
Schumann  said  :  "  There  is  one  passage  in  it  where 
the  horn  is  calling  as  though  from  a  distance.  It 
seems  to  come  from  a  heavenly  sphere.  Here 
everything  else  waits  and  listens  as  though  some 
celestial  messenger  were  hovering  around  the  or- 
chestra." The  opening  subject  then  returns,  this 
time  for  oboe,  which  soon  plays  its  part  as  ac- 
companiment for  a  charming  solo  passage  for  the 
'cello.  A  change  of  key,  and  the  second  subject 
returns  with  fresh  treatment.  The  horn  episode 
is  heard  again,  and  the  movement  closes  with  the 
fascinating  opening  theme. 

The  Scherzo  starts  with  a  unison  passage  for 
strings,  followed  by  a  boisterous  episode  for  the 
oboes  and  horns  in  which  the  four  beats  already 
alluded    to    make    themselves    felt.      The    second 


240  THE  STANDARD  SYMPHONIES. 

subject,  given  out  by  the  strings,  with  accompani- 
ment of  clarinets  and  bassoons,  is  light  and  playful 
in  character.  The  Trio  opens  with  horns  and 
clarinets,  leading  to  a  broad  melody  for  the  winds, 
with  string  accompaniment,  producing  a  brilliant 
orchestral  effect ;  and  with  the  Scherzo,  da  capo, 
the  movement  closes. 

The  Finale  crowns  this  extraordinary  work  with 
a  fitting  climax,  impetuous  and  resistless  in  its  rush, 
with  the  four  beats  asserting  themselves  all  through 
it.  After  an  introduction  of  a  most  energetic  and 
sonorous  character,  the  first  theme  is  announced 
by  the  oboes  and  bassoons,  with  the  violins  accom- 
panying in  triplets  of  fiery  velocity.  The  second 
theme  is  led  off  by  the  horns,  the  violins  still  in 
the  mad  impetuous  sweep  of  their  triplets,  and  the 
first  half  of  the  movement  closes  with  a  working- 
out  of  part  of  the  second  theme.  The  second  part 
is  fiery  in  its  energy,  and  closes  with  an  immense 
crescendo,  beginning  with  the  violas,  double  pianis- 
simo, and  spreading  over  one  hundred  and  sixty- 
four  measures  before  coming  to  a  final  rest. 


SCHUMANN. 

|CHUi\IANN'S  symphonic  work  was  clearly 
evolutionary  in  its  origin.  At  the  time 
of  his  highest  development  he  was  filled 
with  the  idea  that  he  must  create  some- 
thing out  of  his  romantic  imagination  and  produce 
it  in  a  form  which  had  been  already  established.  His 
songs  are  pictures,  but  they  did  not  satisfy  him.  He 
then  tried  the  sonata  form,  with  still  less  satisfaction. 
In  1839  he  writes  to  Dorn  :  "There  remain  only 
symphonies  for  me  to  publish  and  make  heard.  I 
often  feel  that  I  would  like  to  crush  the  pianoforte ; 
it  grows  too  confined  for  my  thoughts.  It  is  true 
I  have  as  yet  but  little  practice  in  orchestral  com- 
position ;  still  I  think  I  shall  master  it."  That  he 
needed  and  appreciated  the  necessity  of  this  mas- 
tery is  shown  by  his  remark  in  another  letter,  to 
Mcinardus  :  "  If  one  would  create  in  free  forms, 
one  must  first  be  master  of  the  strict  forms  which 
hold  good  for  all  time."  He  commenced  that  mas- 
tery at  once  with  all  the  ardor  of  his  nature.  He 
grounflcd     himself    on    Beethoven,    Haydn,    and 

16 


242 


THE  STANDARD  SYMPHONIES. 


Mozart,  and  critically  studied  and  analyzed  Schubert, 
and  was  specially  influenced  by  Mendelssohn.  How 
well  he  accomplished  his  task  was  shown  by  his 
very  first  symphony,  the  B  flat,  op.  38,  as  well  as 
the  "  Overture,  Scherzo,  and  Finale,"  in  E  major, 
op.  52,  and  the  three  symphonies  which  followed  it. 
He  kept  the  old  form,  and  yet  he  retained  his  indi- 
viduality. He  grafted  the  romantic  upon  the  classic 
form,  and  it  remains  as  entirely  Schumannish  as  his 
songs.  Though  he  began  this  work  late  in  life,  and 
when  he  was  not  thoroughly  acquainted  with  all  the 
possibilities  of  instruments,  he  has  left  these  evi- 
dences of  his  skill  in  the  higher  forms  which  by  com- 
mon consent  are  adjudged  as  superior  to  any  of  the 
works  of  his  contemporaries,  and  which  have  had 
and  will  continue  to  have,  an  important  influence  in 
the  world  of  symphonic  forms.  The  dates  of  his 
symphonies  are  given  in  the  sketches  which  follow. 

SYMPHONY  No.  1,  IN  B   FLAT.     Op.  38. 

1.  Andante  un  poco  maestoso.    Allegro  molto  vivace. 

2.  Larghetto. 

3.  Scherzo.     Molto  vivace. 

4.  Finale.    Allegro  animato  e  gracioso. 

Schumann's  First  symphony,  in  B  flat,  was  written 
in  1841,  and  was  first  performed  at  the  Leipsic 
Gewandhaus  concerts,  under  Mendelssohn's  direc- 
tion March  31  of  that  year,  together  with  his  "  Over- 
ture, Scherzo,  and  Finale,"  which  is  symphonic  in  its 
dimensions.      It  was  his  first  important  work  for 


THE  SYMPHONY  IN  B    FLAT.  243 

orchestra,  and  being  w-ritten  at  a  very  happy  period 
of  his  hfe,  when  at  last  all  obstacles  to  his  marriage 
with  Clara  Wieck  had  been  removed,  is  marked  by 
vivacity  and  joyousness.  According  to  Hanslick, 
Schumann  himself  characterized  it  as  the  "  Spring 
symphony."  Ehlert,  in  one  of  his  rhapsodies,  says  : 
"  It  is  imbued  with  the  fragrant  breath  of  a  young 
pine  grove,  amid  which  the  sun  plays  at  hide  and 
seek.  It  embodies  as  much  of  a  joyful,  bridal  air 
as  though  Schumann  were  celebrating  his  sym- 
phonic honeymoon.  All  its  thoughts  are  aspira- 
tions." Schumann  himself,  in  a  letter  to  a  friend, 
writes  :  "  I  have  now  a  household  of  my  owti,  and 
my  circumstances  are  different  from  what  they 
were.  The  time  since  you  last  heard  from  me  has 
passed  in  happiness  and  work.  I  wished  for  you  to 
hear  my  symphony.  How  happy  I  was  at  the  per- 
formance !  —  I  and  others  also,  for  it  had  such  a 
favorable  reception  as  I  think  no  symphony  has  had 
since  Beethoven."  In  another  letter  he  says  :  "  My 
symphony  was  born  in  an  hour  of  ecstasy." 

The  first  movement  is  prefaced  with  a  brief  intro- 
duction, Andante  un  poco  maestoso,  of  a  passionate 
and  earnest  character,  its  opening  phrase,  given  out 
by  the  horns  and  trumpets,  playing  an  important 
part  in  the  progress  of  the  movement.  In  the  de- 
velopment there  are  sombre  suggestions ;  but  with 
a  sudden  change  in  the  harmony,  the  flute  is  heard 
with  a  more  cheering  tone,  the  violins  rush  in,  and 
with  a  grand  sweep  the  whole  orchestra  opens  the 
fresh  and  vigorous  Allegro,  its   first   theme   being 


244 


THE  STANDARD  SYMPHONIES. 


similar  to  that  of  the  Andante.  The  second  theme, 
prefaced  by  the  horns  and  given  out  by  the  clarinets 
with  viola  accompaniment,  is  a  unique  and  thor- 
oughly characteristic  melody.  As  it  is  developed 
it  gathers  fresh  life  and  force.  New  and  piquant 
phrases  are  introduced,  and  blend  with  it,  one  of 
them  forming  a  charming  accompaniment  to  the 
first  theme.  The  Coda  is  constructed  freely  and 
broadly,  and  works  up  to  a  magnificent  climax  lead- 
ing at  last,  after  a  pizzicato  passage,  to  a  joyful  rhyth- 
mical song  given  out  first  by  the  strings  and  then 
by  full  orchestra. 

The  Larghetto  movement  is  a  grand  fantasie,  full 
of  passionate  devotion  and  almost  religious  in  its 
character,  showing  unmistakably  the  influence  of 
Beethoven.  Its  opening  theme  is  given  out  by  the 
violins  and  then  repeated  by  the  'cellos,  a  new  and 
characteristic  phrase  appearing  in  the  accompani- 
ment. Again  it  appears  for  the  oboes  and  horns, 
most  ingeniously  varied.  Its  treatment  on  each  re- 
appearance grows  more  elaborate,  and  fresh  phrases 
wander  from  one  instrument  to  another. 

The  beautiful  fantasie  finally  dies  away,  and  with 
slight  pause  the  Scherzo  opens,  Molto  vivace, 
with  a  vigorous  theme  which  has  already  been  in- 
dicated in  the  close  of  the  Larghetto.  As  opposed 
to  it  Schumann  has  written  two  trios  in  different 
rhythms.  The  first,  Molto  piu  vivace,  is  thoroughly 
original,  and  rich  and  tender  in  its  harmony.  The 
second  is  equally  characteristic,  and  clearly  enough 
reveals  the  union  of  Schumann's  romantic  style  with 


THE  SYMPHONY  IiV  C  MAJOR.         245 

the  old  minuet  form.  At  the  close  of  the  Scherzo 
the  first  Trio  again  appears,  and  the  movement  ends 
with  a  diminuendo. 

The  Finale  begins  with  a  scale  passage,  which  is 
a  prominent  feature  in  the  movement.  Its  first 
theme  is  fresh,  gay,  and  vigorous,  and  after  its  state- 
ment leads  to  an  interesting  dialogue  in  which  a 
new  and  lively  subject  and  the  scale-passage  of  the 
opening  take  part.  The  second  theme  is  full  of 
joyous  contentment,  and  in  the  development  the 
first  theme  appears  opposed  to  it,  with  freshly  varied 
treatment,  until  the  brilliant  and  powerful  close  is 
reached. 

SYMPHONY  No.  2,  IN  C  MAJOR.     Op.  61. 

i.  sostenuto  assai.    allegro  ma  non  troppo. 

2.  Scherzo.     Allegro  vivace. 

3.  Auagio  espressivo. 

4.  Allegro  molto  vivace. 

Schumann's  C  major  symphony  No.  2^  was 
sketched  in  1845  and  completed  in  1S46.  It  was 
first  performed  at  a  Leipsic  Gewandhaus  concert, 
under  Mendelssohn's  direction,  Nov.  5,  1S46.  Un- 
like the  No.  I,  it  was  written  at  a  time  of  physical 
suffering  and  mental  affliction,  —  the  precursors  of 
the  malady  which  led  to  a  distressing  fatality  ten 
years  later.     The  symphony  itself  is  a  represcnta- 

1  The  C  major  is  in  reality  the  Third  symphony,  though  num- 
bered as  the  Second,  and  in  order  of  date  follows  tlie  B  flat,  U  minor, 
and  E,  — known  as  the  "Overture,  Scherzo,  and  Finale." 


246  THE  STAXDARD  SYMPHONIES. 

tion  of  conflict,  but  with  a  happier  result,  as  the 
triumphant  Finale  shows.  As  compared  with  the 
First,  also,  it  is  laid  out  on  a  grander  scale,  and  is 
more  finished  in  form,  —  the  outgrowth  of  Schu- 
mann's contrapuntal  study.  Its  movements  are 
also  closely  bound  together  and  related  to  each 
other,  and  by  the  skilful  use  of  the  material  of 
the  Introduction  an  admirable  unity  of  design  is 
secured. 

The  prelude,  Sostenuto  assai,  which  introduces 
the  first  movement,  is  in  the  nature  of  an  overture  to 
the  symphony,  setting  forth  its  story,  furnishing  a 
clew  to  its  meaning,  and  constituting  a  bond  of 
union  between  the  various  movements.  Its  open- 
ing theme,  which  is  of  a  lofty  and  serious  character, 
will  be  found  in  each  of  the  movements,  and  it  also 
foreshadows  the  leading  theme  of  the  first.  It  is 
given  out  by  the  trumpets,  horns,  and  trombone, 
with  an  harmonious  accompaniment  by  the  strings. 
After  a  few  bars  a  romantic  phrase  appears  in  the 
accompaniment  for  the  wood  winds,  which  is  also 
repeated  in  the  other  movements.  As  the  Intro- 
duction progresses  the  time  is  accelerated,  and  a 
new  subject  is  assigned  to  the  flutes  and  oboes, 
which  leads  up  to  the  principal  theme,  Allegro  ma 
non  troppo,  —  a  resolute,  energetic  melody  sugges- 
tive of  conflict,  and  followed  by  a  vigorous  phrase, 
already  heard,  but  now  appearing  with  a  fresh  ac- 
companiment and  leading  to  the  second  theme,  of 
a  less  energetic  character,  which  closes  the  first 
part  of  the  movement.     The  second  part  is  devoted 


THE  SYMPHONY  IN  C  MAJOR.  247 

to  the  elaborate  development  of  this  thematic  ma- 
terial, which  leads  up  to  a  return  of  the  first  theme, 
after  a  long  organ-point  in  the  basses,  with  unique 
wind  accompaniment.  In  the  Coda,  after  a  treat- 
ment of  associated  subjects,  the  trumpets  take  up 
the  opening  of  the  prelude  again,  this  time  in  so- 
norous and  aggressive  style,  clearly  indicating  the 
conflict. 

The  Scherzo  shows  us  Schumann  in  one  of  his 
rare  joyous  moods,  though  the  movement  is  domi- 
nated by  the  same  general  sentiment  of  energetic 
resistance.  Its  first  theme  is  given  out  by  the  vio- 
hns,  and  is  characterized  by  feverish  restlessness,  to 
which  a  counter-theme  is  opposed,  with  an  accom- 
paniment in  contrary  motion.  The  Scherzo  has  two 
trios.  The  first  is  a  melody  in  triplets,  divided 
between  the  wood  winds  and  strings.  The  second, 
which  is  more  subdued,  is  taken  by  the  strings  in 
full  harmony.  In  the  return  the  Trios  are  displaced 
by  the  first  theme ;  and  in  the  Coda,  the  trumpets 
and  horns,  with  scale  accompaniment  by  the  violins, 
again  give  out  the  theme  of  the  prelude. 

The  Adagio  is  in  marked  contrast  to  the  pre- 
ceding movements,  expressing  tenderness  and  de- 
votion instead  of  conflict.  Without  introduction  the 
strings  alone  sing  a  passionate  love-song,  the  oboes 
and  clarinets  subsequently  adding  their  voices  to 
the  beautiful  strain.  A  brief  interlude  leads  to  the 
seconfl  theme,  assigned  to  the  strings,  accompanied 
by  the  trumpet  and  horns.  After  its  statement  the 
love- song  is  repeated  by  the  violins  in  octaves  trill- 


248    THE  STANDARD  SYMPHONIES. 

ing  downward,  the  wood  winds  closing  it.  The 
second  part  closely  resembles  the  first,  though  very 
elaborate  in  its  development,  and  closes  peace- 
fully, with  no  allusion  to  the  trumpet  theme  of  the 
prelude. 

In  the  Finale  Schumann  returns  to  the  conflict 
with  renewed  ardor  and  force.  It  begins  with  a 
rapid  scale-passage  leading  up  to  the  martial  first 
theme.  The  transition  to  the  second  theme  is  char- 
acterized by  vigorous  and  striking  rhythms.  The 
theme  itself,  suggestive  of  the  Adagio,  is  given  out 
by  the  violas,  'cellos,  clarinets,  and  bassoons,  accom- 
panied by  the  violin  scale-passage  mentioned  above 
and  the  wind  instruments  in  triplets,  and  gradually 
leads  back  to  a  return  of  the  first  subject.  The  end 
of  the  conflict  is  marked  by  a  climax  in  which  the 
trumpet  theme  is  again  heard.  After  suggestive 
rests  the  oboe  intones  a  simple  theme,  but  full  of 
joy  and  victory,  vv^hich  is  worked  up  to  a  climax.  It 
then  appears  broader  and  more  freely  for  the  strings, 
and  from  this  point  moves  on  to  the  close  like  a 
grand  hymn  of  thanksgiving,  the  trumpet  theme 
making  its  last  appearance  near  the  end. 


SYMPHONY  No. 

3 

(ETTF.NISH), 

IN 

E 

FLAT.     Op 

I. 

4- 

Allegro. 
Lento. 

2.  Scherzo. 
5.  Allegro 

3- 
Finale 

Andante. 

The  symphony  in  E  flat,  though  numbered  the 
Third,  was  the  Fourth  in  order  of  composition,  and 
is  familiarly  known  as  "  the  Rhenish,"  the  title  being 


THE  SYMPHONY  IN  E  FLAT.  249 

derived  from  the  impressions  of  life  in  the  Rhine- 
land  made  upon  the  composer.  It  was  sketched 
and  instrumented  between  Nov.  2  and  Dec.  9,  1850, 
in  which  year  Schumann  was  the  municipal  director 
of  music  at  Dusseldorf.  Its  first  performance  took 
place  in  that  city,  Feb.  6,  1 85 1 .  It  is  a  work 
characterized  by  exuberant  fancy,  extraordinary 
inventiveness  and  originality  and  joyousness  of 
feeling,  considering  the  mental  disorder  which  was 
already  preying  upon  the  unhappy  composer. 

The  first  movement  opens  without  Introduction, 
the  first  theme  being  at  once  given  out  by  the  vio- 
lins. After  short  development  it  is  heard  again 
with  increased  animation,  and  leads  up  to  a  lively 
second  theme  for  the  oboes,  bassoons,  and  clarinets. 
The  elaboration  of  these  two  themes  is  very  long 
arid  skilful,  and  the  manner  in  which  Schumann  un- 
folds, develops,  and  contrasts  them  and  leads  up  to 
the  reprise  shows  what  rapid  progress  he  had  made 
in  his  contrapuntal  studies. 

The  Scherzo  begins  with  a  characteristic  theme 
given  out  by  the  violas,  bassoons,  and  'cellos,  —  a 
melody  which  is  fairly  replete  with  good-nature  and 
old-fashioned  humor.  After  its  development  a 
second  lively  theme  occurs  and  leads  up  to  a  sub- 
ject given  out  by  the  clarinets,  horns,  and  bassoons, 
corresponding  to  the  Trio,  and  full  of  color.  After 
its  statement  the  principal  theme  returns  and  is  in- 
geniously varied. 

The  Andante  opens  with  a  quiet  and  beautiful 
melody  for  the  bassoons  and  clarinets.     The  move- 


250 


THE  STANDARD  SYMPHONIES. 


ment  is  serene  and  sentimental  throughout,  and  pre- 
pares the  way  for  the  succeeding  Lento,  the  inspi- 
ration of  which  has  been  outlined  by  Schumann 
himself.  It  is  marked  "  Feierlich."  The  com- 
poser at  first  superscribed  the  movement,  "  In  the 
character  of  accompaniment  to  a  solemn  ceremony." 
This  ceremony  was  the  festivity  in  the  cathedral  of 
Cologne  consequent  upon  the  elevation  of  Arch- 
bishop von  Geissel  to  the  rank  of  Cardinal,  which 
he  had  witnessed.  When  the  symphony  was  pub- 
lished, however,  he  erased  the  superscription,  ex- 
plaining his  action  by  saying  :  "  One  must  not  show 
the  people  his  heart.  A  more  general  impression  of 
a  work  of  art  is  better  for  them ;  then  at  least  they 
will  make  no  false  comparisons."  The  religious 
pomp  which  he  had  seen  is  clearly  apparent,  and 
would  have  impressed  itself  upon  the  hearer  even 
had  Schumann  left  no  clew  to  its  inner  meaning. 
Its  foundation  is  a  broad  and  unmistakably  ecclesi- 
astic harmony  given  out  in  a  solemn  and  stately 
manner  by  the  trombones,  and  on  this  foundation  he 
builds  up  an  elaborate  contrapuntal  structure  which 
retains  the  same  ecclesiastic  form,  with  added  rich- 
ness and  brilliancy.  The  Finale  is  written  in  strict 
form,  and  introduces  new  and  fresh  themes,  with  the 
exception  of  the  appearance  of  the  ecclesiastical 
motive,  of  which  the  principal  one  is  the  most  strik- 
ing. As  to  the  general  character  of  the  symphony 
Schumann  says  :  "  Popular  elements  had  to  be 
prominent,  and  I  believe  I  have  succeeded,"  which 
may  be  an  explanation  of  its  title,  "  Rhenish." 


THE  SYMPHONY  IN  D  MINOR.         25: 


SYMPHONY  No.  4,  IN  D   MINOR.     Op.  120. 

1.  Introduction. 

2.  Allegro. 

3.  RO.MANZA. 

4.  Scherzo  and  Finale. 

Schumann's  Fourth  symphony,  really  his  Second, 
was  originally  written  in  1841,  but  was  not  revised 
and  put  into  its  present  form  until  185 1.  Its  title  is 
"  Symphony  No.  4,  D  minor,  Introduction,  Alle- 
gro, Romanza,  Scherzo  and  Finale,  in  one  piece," 
the  parts  passing  into  one  another  without  pause, 
and  united  by  the  use  of  subjects  already  stated. 

The  Introduction  opens  with  a  theme  for  the 
violas  and  'cellos  of  a  somewhat  melancholy  char- 
acter, and  after  its  brief  development,  with  a  grad- 
ually accelerated  tempo,  the  Allegro  enters  with  a 
theme,  dry  and  difficult  in  its  contents,  but  used 
with  masterly  effect  in  its  development,  and  pre- 
senting unusual  strength,  in  spite  of  its  unmelodious 
nature.  Though  there  is  a  second  theme,  more 
gracious  in  style,  the  first  dominates  the  whole  first 
part  of  the  movement.  After  the  usual  repeat  the 
second  part  is  treated  in  the  style  of  a  free  fantasie, 
with  entirely  new  material,  in  which  respect  Schu- 
mann makes  a  wide  departure  from  the  established 
forms  ;  and  yet  there  is  the  same  general  feeling,  the 
same  strength,  and  no  apparent  lack  of  unity,  for  in 
this  part  of  the  movement  appears  a  semi-quaver 
figure  already  used  in  the  Introduction.  It  is  built 
up  mainly  on  two  episodes,  —  the  first  given  out 


252 


THE  STANDARD  SYMPHONIES. 


with  full  strength  by  the  winds,  and  in  the  repeat 
by  the  strings,  and  the  second  by  the  violins.  The 
entire  second  part  is  devoted  to  the  elaboration  of 
these  two  episodes  in  a  bold  and  striking  manner, 
and  it  closes  with  fiery  emphasis,  in  strange  contrast 
with  the  movement  to  which  it  leads. 

A  single  chord  binds  it  to  the  Romanza,  which 
one  critic  has  beautifully  described  as  "  like  a 
shower  out  of  the  blue  sky."  It  opens  with  a  sim- 
ple, plaintive,  and  exquisitely  refined  melody,  which, 
once  heard,  will  always  linger  in  the  memory.  It  is 
given  out  by  the  oboes  and  'cellos,  with  the  strings 
pizzicato.  A  short  phrase  follows  for  the  violas. 
Then  succeeds  a  passage  from  the  Introduction 
which  reminds  us  that  this  tender  Romanza  is  filling 
its  part  in  the  general  symphonic  design.  A  repeti- 
tion of  its  phrase  leads  to  a  second  subject  given 
out  by  the  strings,  while  a  solo  violin  heightens  the 
beautiful  effect  with  a  variation  on  the  principal 
theme.  The  movement  closes  with  the  tender  song 
that  opens  it. 

The  Scherzo  opens  with  a  strong,  energetic  theme 
for  full  orchestra,  except  trombones,  which  has  few 
reminders  of  the  ordinary  Scherzo  lightness  and 
caprice.  The  second  part,  however,  is  more  gra- 
cious, and  the  Trio  is  soft  and  dreamy.  At  its  close 
the  Scherzo  reappears,  followed  by  the  Trio,  in  the 
midst  of  which  there  is  a  moment  of  restlessness,  as 
if  the  instruments  knew  not  which  way  to  turn.  In- 
stead of  leading  back  to  the  Scherzo  the  music 
diminishes  in  tone  as  if  it  would  disappear,  when 


THE  SYMPHONY  IN  D  MINOR.         253 

suddenly  the  winds  give  out  a  melodious  plirase 
leading  into  the  Finale,  The  short  introduction, 
which  contains  familiar  material,  prepares  the  way 
for  the  opening  theme,  which  is  also  familiar,  as 
it  has  appeared  in  nearly  the  same  form  in  the  first 
movement.  At  its  close  occurs  a  subject  only  a  bar 
in  length  which  plays  an  important  part  in  the  final 
development.  The  second  theme  is  an  odd  mixture 
of  fancy  and  frolic.  After  the  customary  reprise 
Schumann  gives  himself  up  to  his  mood,  quitting 
the  first  subject  altogether  and  elaborating  the 
second  until  in  the  Coda  we  meet  with  a  new  and 
unexpected  theme.  The  Finale  closes  presto  with 
a  genuine  Italian  stretta. 


SPOHR. 


puis  SPOHR,  one  of  the  world's  greatest 
violinists  and  a  composer  of  world-wide 
fame,  was  born  at  Brunswick,  April  25, 
1784,  and  died  in  1859,  after  an  unusually 
long  and  brilliant  musical  career.  As  an  extended 
sketch  of  his  life  has  already  appeared  in  "The 
Standard  Oratorios  "  of  this  series,  it  is  only  neces- 
sary in  this  connection  to  consider  his  relations  to 
the  symphony.  Spohr  was  one  of  the  first  of  Ger- 
man composers  to  carry  into  effect  the  attractive 
scheme  of  programme-music.  In  almost  every  one 
of  his  symphonies  he  illustrates  definite  ideas.  His 
best-known  work,  "  The  Consecration  of  Tone," 
describes  the  relation  of  sound  in  the  various  phases 
of  life,  —  the  cradle,  the  dance,  the  serenade,  the 
battle-field,  and  the  grave,  —  showing  that  music 
accompanies  man  from  the  beginning  to  the  end  of 
his  career.  In  the  Historical  symphony  he  illus- 
trates four  distinct  musical  periods,  as  shown  by  its 
title :    "  Theme   the    First,   the    Period   of   Bach- 


SPOHR. 


255 


Handel,  1720.  Adagio,  Haydn-Mozart,  1780. 
Scherzo,  Beethoven  Period,  1810.  Finale,  the 
^[ost  Modem  Period,  1840."  In  his  double  sym- 
phony for  two  orchestras,  called  "  The  Earthly  and 
the  Divine  in  the  Life  of  Man,"  he  sought  to  repre- 
sent the  two  principles  of  good  and  evil.  The  first 
movement  is  entitled,  "  The  World  of  Childhood  ;  " 
the  second,  "The  Age  of  the  Passions ;  "  the  third, 
"  Final  Victory  of  the  Divine  Principle  ;  "  and  be- 
sides this  a  special  explanatory  motto  is  given  to 
each  theme.  His  Ninth  symphony,  "The  Seasons," 
is  irregular  in  its  form,  being  in  two  parts,  as  fol- 
lows :  "  Part  I.  Winter  and  Spring.  Part  H.  Sum- 
mer and  Autumn."  Spolir  wrote  nine  symphonies 
in  all,  covering  the  period  from  181 1  to  1849  ;  but 
those  we  have  cited  are  among  the  most  remarkable 
as  instances  of  programme-music.  Though  they 
have  had  but  little  influence  upon  the  later  sym- 
phonic composers,  they  will  always  be  of  interest 
as  marking  a  clear  departure  from  absolute  form,  in 
which  respect  Spohr  may  be  regarded  as  the  pre- 
cursor of  the  modern  school  which  has  grafted  the 
romantic  ideas  upon  the  old  stock.  Though  some- 
what antiquated  in  style,  viewed  from  modern  stand- 
points, some  of  them,  and  notably  the  Fourth,  still 
hold  their  place  in  concert  repertories,  and  are  re- 
ceived with  favor  by  reason  of  their  melodiousness. 


256  THE  STANDARD  SYMPHONIES, 


SYMPHONY  No.  4,  IN  F  (CONSECRATION  OF  SOUND). 

Op.  86. 

1.  Introduction    and   Allegro.     (Silence  of  Nature  before 

the  Creation  of  Tone.) 

2.  Andantino,  ETC.     (Cradle  Song,  Dance,  and  Serenade. ) 

3.  Tempo  di    marcia.     (Military   Music.    Off  for  the   Battle. 

Feelings   of   those   left   behind.      Return    of    the   Victors. 
Thanksgiving.) 

4.  Larghetto.    Allegretto.    (Funeral  Chant.    Consolation 

of  Tears.) 

The  Fourth  symphony  of  Spohr's,  "  Die  Weihe 
der  Tone  "  ("  Consecration  of  Sound  "),  is  a  notable 
example  of  programme-music.  The  circumstances 
leading  up  to  its  composition  are  unusually  inter- 
esting. In  the  summer  of  1832  the  composer  had 
been  advised  by  his  physician  to  take  the  waters  at 
Nenndorf.  His  wife  accompanied  him  ;  and  among 
the  books  selected  by  her  for  their  reading  was  a 
volume  of  poems  by  Carl  Pfeiffer,  a  friend  of 
Spohr  at  Cassel.  He  had  always  wished  to  set 
something  of  his  to  music,  and  upon  looking  through 
the  book  the  "Weihe  der  Tone"  struck  him  as 
suitable  for  the  cantata  form.  When  he  began  the 
work,  however,  he  found  that  the  text  did  not 
readily  adapt  itself  to  the  voice  parts.  He  accord- 
ingly changed  his  intention  and  decided  to  set  it  to 
instrumental  music,  using  the  words  as  a  programme. 
The  work  was  soon  finished  with  the  title,  "  Charac- 
teristiche  Tongemalde  in  Form  einer  Sinfonie  nach 
Gedicht  von  Carl  Pfeiffer  "  ("  Characteristic  Tone- 
Pictures  in  the  Form  of  a  Symphony  after  a  Poem 


THE  SYMPHONY  IN  F.  257 

by  Carl  Pfeiffer  "),  and  accompanied  it  with  a  notice 
directing  the  poem  to  be  printed  or  recited  when 
the  symphony  was  performed.  In  a  letter  written 
Oct.  9,  1832,  he  says  :  — 

"  I  have  again  lately  completed  a  grand  instrumental 
composition,  a  fourth  symphony,  which  differs  greatly 
in  form  from  the  preceding  ones.  It  is  a  musical  com- 
position inspired  by  a  poem  of  Carl  Pfeiffer's,  '  Die 
Weihe  der  Tone,'  which  must  be  printed  or  recited 
aloud  before  it  is  performed.  In  the  very  first  part  I 
had  for  task  the  construction  of  a  harmonious  whole 
from  the  sounds  of  nature.  This,  as  indeed  the  whole 
work,  was  a  difficult  but  a  highly  attractive  problem." 

Schumann's  remarks  after  the  first  performance  of 
the  symphony  are  also  pertinent.     He  says  :  — 

"  It  was  perhaps  the  example  of  Beethoven's  Ninth 
symphony  —  the  first  movement  of  which  contains 
perhaps  the  same  poetic  ground-thought  as  Spohr's 
first  —  that  induced  him  to  take  refuge  in  poetry.  And 
what  a  peculiar  choice  he  made,  —  how  true  to  his 
nature,  his  being !  He  did  not  grasp  Shakspeare, 
Schiller,  or  Goethe,  but  a  poem  more  formless  than 
music  itself  (if  this  be  not  too  boldly  said),  —  a  poem 
in  praise  of  music  and  painting  its  effects,  describing 
in  tones  the  tone  described  by  the  poet,  eulogizing 
music  with  music." 

In  a  work  which  is  so  clearly  an  illustration  of  the 
programme,  —  a  series  of  suggestive  tone-pictures 
whose  meaning  lies  on  the  surface,  —  it  is  not  neces- 
sary to  enter  into  detailed  analysis.  The  opening 
movement,  "  Silence  of  Nature  before  the  Creation 

'7 


258  THE  STANDARD  SYMPHONIES. 

of  Tone,"  is  introduced  by  a  vague,  formless  Largo, 
like  Haydn's  Chaos  in  "  The  Creation,"  character- 
ized by  portentous,  heavy  harmonies  for  the  basses 
and  wood  winds,  and  leading  up  to  an  Allegro 
which  opens  with  a  principal  theme  full  of  melo- 
dious sweetness  given  out  by  the  violins  and  sup- 
ported by  the  flutes.  The  movement  has  no  second 
theme.  After  the  opening  melody  the  movement 
partakes  of  the  nature  of  a  symphonic  poem,  illus- 
trating the  various  sounds  of  Nature,  the  songs  of 
birds,  the  uproar  of  the  elements,  and  the  blessings 
of  human  speech. 

In  the  second  movement,  which  takes  the  place 
of  the  customary  slow  movement,  we  have  three 
distinct  themes,  forming  the  ground-work  of  three 
pictures.  The  first  is  a  cradle  song  of  a  gentle, 
soothing  character.  From  this  we  pass  to  a  dance 
tempo  of  a  lively,  tripping  style,  and  again  to  a 
serenade  for  the  'cello.  These  three  themes  are 
delightfully  combined,  and  give  to  the  movement 
a  peculiar  grace  and  refinement. 

The  third  movement,  corresponding  to  the  Scherzo, 
is  marked  "  Tempo  di  Marcia."  It  begins  with  a 
brilliant  military  march  announced  by  the  trumpets 
with  full  accompaniment  of  drums  and  cymbals,  and 
to  the  same  strain  the  soldiers  depart  to  the  battle. 
Meanwhile  the  clarinet  touchingly  sings  the  grief  of 
those  left  behind,  while,  as  if  in  the  distance,  is 
heard  the  tempo  of  the  march.  After  the  return  of 
the  troops  the  movement  closes  with  a  hymn  of 
thanksgiving,  based  upon  the  old  Ambrosian  chorale. 


THE  SYMPHONY  IN  F.  259 

"  God,  we  praise  Thee,"  with  characteristic  choral 
accompaniment. 

The  last  movement  begins  Larghetto,  with  a  fu- 
neral chant  which  in  its  general  form  resembles  the 
Finale  of  the  third  movement,  being  based  upon 
the  chorale,  "Now  let  us  bury  the  Dead,"  given 
out  by  the  clarinets  and  'cellos  with  full  accompani- 
ment. After  the  funeral  episode  follows  "  The  Con- 
solation of  Tears  "  in  a  soothing  melody.  Allegretto, 
which  gradually  develops  to  a  celestial  strain.  Music 
follows  man  from  the  cradle  to  the  grave,  and  its 
tones  are  heard  in  the  better  world  beyond. 


STANFORD. 

HARLES  VILLIERS  STANFORD  was 
born  at  Dublin,  Sept.  30,  1852.  After 
holding  various  positions  in  England, 
among  them  that  of  conductor  of  the 
Cambridge  University  Musical  Society,  he  went  to 
Germany  and  studied  with  Reinecke  and  Kiel. 
Among  his  first  compositions  were  an  overture  for 
the  Gloucester  Festival  of  1877  and  a  psalm,  which 
was  performed  in  the  same  year  at  Cambridge.  He 
also  wrote  at  Mr.  Tennyson's  request  the  overture 
and  Entr'acte  music  for  his  play  "  Queen  Mary," 
which  was  produced  during  the  previous  year.  His 
First  symphony,  in  B  flat,  was  performed  at  the  Crys- 
tal Palace  in  1879.  His  three-act  opera,  "The 
Veiled  Prophet  of  Khorassan,"  was  given  for  the 
first  time  in  Hanover  in  February,  1881.  The  next 
year  brought  his  Second  symphony,  in  D  minor, 
"  Elegiac,"  and  a  serenade  for  full  orchestra.  His 
Third  symphony,  the  Irish,  was  written  in  1887,  and 
has  met  with  decided  success.  In  addition  to  these 
larger  works  Stanford    has  been  conspicuous   as  a 


THE  SYMPHONY  IN  F  MINOR.         26 1 

composer  of  chamber  and  sacred  music,  and  has 
done  good  service  as  a  conductor  in  bringing  out 
works  hitherto  unknown  in  England.  His  position 
at  present  is  that  of  Professor  of  Composition  and 
Orchestral  Playing  at  the  Royal  College  of  Music, 
London. 

SYMPHONY  No.  3,  IN  F   MINOR    (IRISH).     Op.  28. 

1.  Allegro  moderato. 

2.  Allegro  molto  vivace. 

3.  Andante  con  moto. 

4.  Allegro  moderato. 

Stanford's  so-called  Irish  symphony  was  com- 
pleted in  1887,  and  was  first  performed  June  27  of 
that  year  in  one  of  Herr  Richter's  London  con- 
certs. It  met  with  remarkable  success,  and  this 
year  has  made  its  way  to  this  country,  as  well  as  to 
Germany,  Mr.  Walter  Damrosch  having  produced 
it  in  Nesv  York,  and  Herr  von  Biilow  in  Berlin. 
Like  Mendelssohn's  Scotch  and  Cowen's  Cambrian, 
it  is  said  to  have  grown  out  of  a  visit  made  by  the 
composer  to  Ireland.  It  is  certainly  Irish  in  spirit 
as  well  as  in  the  thematic  material  employed,  and  is 
sufficiently  national  to  secure  instant  recognition  by 
even  an  untutored  Irish  listener.  A  Latin  motto 
accompanies  the  score,  — 

"  Ipse  fave  clemens  patrize  patriamque  canenti 
Phcebe,  coronata  qui  canis  ipse  lyra,"  — 

invoking  Apollo's  assistance  in  this  transcription  of 
the  melodies  of  the  composer's  native  land. 


262  THE  STANDARD  SYMPHONIES. 

The  first  movement,  Allegro  moderate,  opens 
with  a  melodious  theme  in  the  string  quartet,  uni- 
son and  pianissimo,  supported  by  the  winds.  After 
a  short  development  it  is  repeated  in  a  powerful 
crescendo  by  full  orchestra.  A  phrase  from  the 
theme  is  then  treated,  and  leads  to  the  second, 
given  out  by  the  'cellos  in  cantabile  style  and  then 
taken  up  by  the  violins.  The  usual  repetition 
follows,  and  closes  the  first  part.  The  second 
part  opens  with  a  working-up  of  the  first  theme, 
followed  by  the  second  with  ingenious  variations. 
Both  themes  also  appear  in  the  Coda  closing  the 
movement. 

The  second  movement,  Allegro  molto  vivace, 
which  takes  the  place  of  the  customary  Scherzo, 
begins  at  once  with  a  first  theme  in  jig-like  move- 
ment for  the  first  violins.  After  its  development  a 
short  episode  follows,  given  out  by  the  wood  winds, 
which  leads  up  to  a  genuine  peasant  melody.  The 
Trio  opens  with  an  attractive  theme,  leading  to  the 
Coda,  in  which  the  jig  returns,  closing  the  move- 
ment in  spirited  style. 

The  slow  movement  after  some  introductory  harp 
arpeggios  opens  with  a  sombre,  pathetic  theme  for 
the  flutes  and  clarinets,  several  times  repeated,  and 
assigned  to  various  instruments  until  the  oboe  ap- 
pears with  a  second  theme,  the  accompanying 
figure  of  which  is  based  upon  the  old  Irish  song, 
**  The  Lament  of  the  Sons  of  Usnach."  Fresh  sub- 
jects follow  with  elaborate  treatment,  leading  to  a 
general    pause,  which    prepares  the  way  for    the 


THE  SYMPHONY  IN  F  MINOR.  263 

Lament  theme.  A  reminiscence  of  the  beginning 
of  the  movement  and  the  harp  arpeggios  furnish 
the  close. 

The  Finale,  Allegro  moderate  ma  con  fuoco,  is 
based  upon  t\vo  Irish  songs,  —  the  first  of  which, 
"  Remember  the  glories  of  Brian  the  brave,"  consti- 
tutes the  first  theme.  After  its  development  a  fresh 
modulation  leads  up  to  the  second  theme  for  string 
orchestra  with  bassoons,  horn  and  contrabasses,  piz- 
zicato, followed  by  a  very  melodious  figure  which 
prepares  the  way  for  further  treatment  of  the  the- 
matic material  already  presented.  The  second  of 
the  Irish  themes  mentioned  above,  "  Let  Erin  re- 
member the  days  of  old,"  is  now  given  out  by  three 
trumpets  pianissimo  with  tremolo  accompaniment 
of  violins.  After  the  development  of  this  theme 
occurs  the  ordinary  reprise,  and  a  very  skilfully 
treated  Coda  concludes  the  symphony. 


^^ 


SULLIVAN. 


RTHUR  SEYMOUR  SULLIVAN  during 
the  past  ten  years  has  been  principally 
known  to  the  musical  public  by  the  comic 
operettas  which  he  has  produced  in  col- 
laboration with  Mr.  Gilbert,  and  which  have  met 
with  a  popular  success  almost  unprecedented  in  the 
record  of  such  entertainments.  It  goes  without  say- 
ing, however,  that  these  works  are  ephemeral,  and 
form  no  bases  for  judgment  of  his  musical  ability. 
His  future  reputation  must  rest  upon  the  more 
legitimate  compositions  he  has  produced,  and  which 
have  almost  been  forgotten  in  the  excitement  oc- 
casioned by  the  humor  and  melodiousness  of  works 
of  the  "  Pinafore  "  kind.  Among  the  former  are 
the  beautiful  "  In  Memoriam  "  overture,  the  bril- 
liant "  Overture  di  Ballo,"  the  oratorios  "  Prodigal 
Son,"  "Light  of  the  World,"  and  "The  Martyr  of 
Antioch,"  and  his  symphony  in  E  minor,  which 
shows  how  successful  he  has  been  in  the  highest 
form  of  music. 


THE  SYMPHONY  IN  E  MINOR.  265 


SYMPHONY  No.  1,   IN  E  MINOE. 

1.  Andante.    Allegro  ma  non  troppo  vivace. 

2.  Andante  espressivo. 

3.  Allegretto. 

4.  Allegro  vivace  e  con  brio. 

Mr.  Sullivan's  First  symphony  was  wi'itten  in 
1866,  and  was  first  played  at  the  Crystal  Palace, 
London.  It  adheres  to  the  old  form  of  absolute 
music  in  that  it  has  no  programme.  It  begins  with 
an  Introduction,  Andante,  in  which  a  phrase  is  an- 
nounced by  the  basses  that  not  only  dominates  the 
Introduction  proper,  but  does  good  service  in  the 
succeeding  Allegro.  The  Introduction  leads  direct- 
ly to  the  Allegro,  the  first  theme  of  which  is  given 
out  by  the  violins,  and  based  upon  the  phrase  al- 
ready mentioned.  The  full  orchestra  is  employed  in 
its  development,  after  which  follows  an  episode  for 
the  wind  instruments,  accompanied  by  the  violas, 
and  leading  to  the  entrance  of  the  second  subject, 
which  is  first  indicated  by  the  violins  and  clarinet, 
but  not  clearly  shown  until  it  is  given  out  by  the 
flute  with  the  violins  in  octaves.  The  usual  repeat 
brings  the  first  part  of  the  movement  to  a  close.  In 
the  second  part  the  first  and  second  themes  are 
elaborated  with  great  ingenuity,  and  reach  a  very 
impressive  climax,  after  which  a  vigorous  Coda  ends 
the  movement. 

The  second  movement,  Andante  espressivo,  after 
a  brief  prelude  begins  with  a  theme  for  the  horns 
and  alto  trombones,  which  is  fully  developed,  and 


2  66    THE  STANDARD  SYMPHONIES. 

then  gives  place  to  the  second  theme,  for  the  clari- 
nets. The  new  theme,  however,  occupies  a  subor- 
dinate position,  as  the  first  soon  returns,  and  is 
treated  with  charming  effect.  A  new  subject  pre- 
sents itself  near  the  close  in  a  solo  for  clarinet,  and 
the  movement  ends  quietly  with  reminiscences  of 
the  principal  subject. 

The  third  movement,  Allegretto  instead  of  Scher- 
zo, opens  with  a  fresh  and  effective  theme  given  out 
by  the  oboe  with  string  accompaniment.  It  is 
twice  repeated,  first  by  the  'cellos  and  bassoons  with 
flute  and  clarinet  accompaniment,  and  then  by  the 
winds  with  string  accompaniment,  after  which  the 
second  theme  appears,  divided  between  the  flutes 
and  violins.  Its  treatment  leads  to  the  Trio,  the 
subject  of  which  is  assigned  to  the  clarinets  in  oc- 
taves. After  its  repetitions,  the  principal  theme  re- 
turns, and  closes  the  movement. 

The  Finale,  Allegro  vivace  e  con  brio,  opens  at 
once  with  a  vigorous  subject  for  full  orchestra  which 
is  developed  in  masterly  style.  A  graceful  little 
episode  prepares  the  way  for  the  second  subject, 
given  out  by  the  violins  with  counter-theme  for  the 
winds.  The  rest  of  the  movement  is  devoted  to 
the  elaboration  of  this  material  until  the  reprise 
is  reached,  after  which  the  movement  progresses 
clearly  and  forcibly  to  the  end. 


VOLKMANN. 


"RIEDRICH  ROBERT  VOLKMANN 
was  bom  in  Saxony,  April  6,  1815,  and 
after  his  early  instructions  in  his  native 
town  and  at  Freyberg  went  to  Leipsic, 
where  he  met  Schumann,  whose  suggestions  were  of 
great  assistance  to  him.  His  first  work,  "  Phantasie- 
bilder  in  Leipsic,"  appeared  in  1839  i  but  his  prin- 
cipal compositions  were  written  in  Pesth,  where  he 
resided  after  the  year  1858.  His  published  works 
include  a  long  list  of  chamber  compositions  and 
numerous  pieces  for  the  piano,  as  well  as  masses, 
cantatas,  and  sacred  songs.  The  serenades  and  his 
two  symphonies.  No.  i,  in  D  minor,  and  No.  2,  in 
B  flat  major,  have  given  him  a  widely  extended 
reputation.  Though  belonging  to  the  romantic 
school,  his  symphonies  are  based  on  the  classic 
form.  Both  in  his  vocal  and  instrumental  work  he 
shows  the  results  of  Schumann's  influence,  in  the 
choice  of  ideas  as  well  as  in  modes  of  expression, 
but  not  at  the  sacrifice  of  his  own  individuality. 


268         THE  STANDARD  SYMPHONIES. 


SYMPHONY  No.  1,  IN  D   MINOR.     Op.  44. 

1.  Allegro  patetico. 

2.  Andante. 

3.  Scherzo.    Allegro  ma  non  troppo. 

4.  Finale.     Allegro  molto. 

Volkmann's  First  symphony,  written  during  his 
stay  in  Pesth,  in  its  general  structure  and  spirit 
clearly  shows  the  results  of  Beethoven's  influence, 
and  yet  is  characterized  by  great  freedom  and  origi- 
nality. The  first  movement,  Allegro  patetico,  begins 
with  a  theme  given  out  by  the  strings  in  unison, 
which  determines  at  once  the  vigorous,  energetic 
character  of  the  whole  movement.  The  motive  is 
retained  tenaciously  by  the  double-basses,  while  the 
wind  instruments  take  up  a  quiet  melody,  leading 
through  a  steady  crescendo  into  the  second  theme, 
given  out  by  full  orchestra.  This  is  followed  by  a 
melodic  phrase  very  carefully  and  skilfully  treated. 
The  first  theme  is  then  repeated,  after  which  the 
various  subjects  are  employed  with  such  combina- 
tions and  additions  as  appear  to  grow  naturally 
out  of  the  material,  the  whole  forming  a  move- 
ment of  great  strength  in  the  genuine  symphonic 
form. 

The  Andante  is  thoroughly  melodious.  Its  open- 
ing theme  is  first  given  out  by  the  clarinet,  lead- 
ing to  an  effective  climax.  This  is  followed  by  a 
beautifully  harmonized  passage,  moving  pianissimo 
around  a  rhythmic  figure  on  one  note  given  to  the 
horns,  which  in  turn  leads   back  to   the   principal 


THE  SYMPHONY  IN  D  MINOR  269 

melody  now  taken  up  by  the  strings  and  subjected 
to  elaborate  treatment. 

The  Scherzo  starts  off  briskly  with  a  theme  de- 
veloped from  material  in  the  first  movement.  In 
the  second  part  the  customary  Trio  changes  to  an 
Andantino,  and  is  thoroughly  romantic  and  win- 
some in  style.  After  elaboration  it  leads  back  to 
the  Scherzo. 

The  Finale,  Allegro  molto,  is  stately  in  character 
and  severe  in  treatment.  It  contains  some  fine 
contrapuntal  writing,  but  is  always  clear  in  outline, 
and  closes  with  a  grand  climax.  The  second  sub- 
ject of  this  movement  is  particularly  noticeable  for 
its  combination  of  pathos  and  joyousness. 


WAGNER. 


HE  life  of  Richard  Wagner  has  been  fully 
sketched  in  the  first  volume  of  this  series, 
"  The  Standard  Operas."     In  this  con- 
nection, therefore,  some   description   of 
the  romantic   history  of  Wagner's  only  symphony 
may  be  of  more  interest  than  a  repetition  of  purely 
biographical  matter.     It  was  written  in  1832,  when 
the  composer  was  in  his  nineteenth  year.     It  had 
two  performances,  one  of  them   in    Leipsic ;   and 
the  manuscript  was  then   left  with   Mendelssohn. 
After  his   death  in   1847  it  could  not  be  found, 
and  for  years  nothing  more  was  heard  of  it.     The 
master  was  too  busy  with  his  great  work  of  the  fu- 
ture, which  culminated  at  Bayreuth,  to  give  much 
thought  to  this  work  of  his   youth.     In   his   later 
years,  however,  when    his   fame  was    assured,   he 
manifested  much  interest  in  his  earlier  compositions, 
and  seemed  to  be  particularly  desirous  of  finding 
his  symphony  which  had  been  lost  so  many  years. 
He  wrote  in  all  directions,  but  could  get  no  trace 
of  it.     At  last,  in  1876,  he  commissioned  his  friend, 
Wilhelm  Tappert  of  Berlin,  to  go  in  quest  of  it. 


THE  SYMPHONY  IN  C. 


271 


Tappert  made  it  a  labor  of  love.  He  went  to  va- 
rious cities  where  Wagner  had  visited  or  resided, 
and  made  inquiries  in  every  direction.  In  Dresden 
he  called  upon  the  famous  tenor,  Tichatscheck, 
who  had  been  familiar  with  the  composer's  cir- 
cumstances in  that  city,  and  who  knew  that  Wagner 
had  left  some  trunks  there  when  he  was  forced  to 
flee.  At  first  Tichatscheck  disclaimed  any  knowl- 
edge of  them,  but  subsequently  remembered  that 
there  were  some  in  his  attic,  though  he  was  ignorant 
of  their  contents.  Subsequent  examination  revealed 
the  symphony  hidden  away  there  ;  and  it  was  re- 
stored to  the  composer.  Some  of  the  parts  were 
missing,  but  in  1881  Wagner  completed  the  in- 
strumentation. In  1882  he  went  to  Venice,  and 
in  that  city  the  symphony  was  privately  performed 
in  honor  of  the  birthday  of  his  wife,  Cosima,  he 
himself  conducting.  As  he  laid  down  his  baton 
at  the  close,  he  remarked,  "  Now  I  have  conducted 
for  the  last  time."  It  was  a  fatal  presentiment,  for 
he  lived  but  a  short  time  afterward. 

SYMPHONY   IN   C. 

i.  sostenuto  e  maestoso.     allegro  con  brio. 

2.  Andante  ma  non  trotpo. 

3.  Scherzo.    Allegro  assai. 

4.  Finale.    Allegro  molto  e  vivace. 

The  Introduction,  scored  for  flutes,  oboes,  clar- 
inets, bassoons,  iiorns  (four),  trumpets,  drums,  and 
strings,  is  marked  Sostenuto  e  maestoso,  and  ex- 
tends over  fifty-four   bars,  —  eight  bars  less  than 


2  72    THE  STANDARD  SYMPHONIES. 

the  introduction  to  Beethoven's  No.  7.^     Its  exor- 
dium is  ten  detached  chords,  struck  with  the  full 
power  of  the  orchestra,  —  a  sufficiently  emphatic 
call  to  attention.     Wagner  then  proceeds  to  develop 
a  single  idea,  which  serves,  with  two  or  three  ac- 
cessories, for  the  entire  prelude,  and  is  therefore 
very  closely  worked,  principally  in   imitation.      It 
is  carried  on  by  free  modulation,  variation  in  de- 
tails, and   transposition  of  the  extreme   parts,  but 
always  preserving  its  imitative  feature,  and  nearly 
tliroughout  sustaining  a  tremolando  upon  the  me- 
dium strings.    The  composer,  as  a  matter  of  course, 
relieves  the  progress  of  his  main  thought  by  epi- 
sodical phrases  and  passages,  which  twice  actually 
stay  its   course.      The   episodical   phrases,  two   in 
number,  may  be  regarded  as  interludes,  —  the  first 
and  more  important  coming  between  repetitions  of 
the  main  subject,  and  being  heard  well-nigh  exclu- 
sively from  the  wood  wind.     A  striking  feature  is 
occasional  loud  blasts  upon  the  horns  and  trum- 
pets, —  one  sound,  followed  by  its  octave  below ; 
noteworthy,  also,  is  the  close  of  the  Introduction. 

The  Allegro  con  brio  is  founded  upon  two 
themes,  which  so  well  serve  the  composer's  pur- 
pose that  no  episode,  properly  so-called,  enters  into 
the  movement.     No  sooner   has  the  subject  been 

'  A  score  of  the  Wagner  symphony  not  being  available  at  the 
present  writing,  the  author  has  made  use  of  the  excellent  analysis 
printed  in  the  London  "  Daily  Telegraph,"  and  used  in  the  pro- 
gramme-book of  the  concert  in  New  York,  where  the  symphony 
was  performed  under  the  direction  of  Mr.  Seidl.  The  text  has 
been  slightly  condensed. 


THE  SYMPHONY  IN   C. 


273 


Stated  than  little  canons  begin  in  the  wind  parts,  the 
strings  accompanying  with  ascending  scale-passages 
upon  a  pedal  C.     A  restatement  of  the  theme  by 
the  full  orchestra  is  followed    by  another  obvious 
exercise,  —  the   passage  in  quavers  being   used  as 
counterpoint  to  repetitions  of  the  first   five  notes. 
So  the  regulation  development  of  the  leading  sub- 
ject proceeds,  coming  presently  to  an  end,  with  a 
full  close  in  the  orthodox  dominant.     But  before  it 
ends,  and  quite  incidentally,  a  phrase  is  introduced 
from  which   he  evolves   the  second   motive.     The 
new  theme  is  no  less  naively  adapted  for  counter- 
point than  its  predecessor.     Very  little  examination 
shows  that  it  may  be  treated  as  a  canon  in  the  uni- 
son at  one  bar  distance,  and   to   this   use  Wagner 
puts  it  first  of  all,  adding  a  very  graceful  cadence. 
Here,  however,  the  composer  chiefly  takes  advantage 
of  a  march-like  rhythm  to  produce  bold  and  ener- 
getic effects,  without  adhering  to  the  theme.     These 
continue  to  a  full  close  in  the  dominant  and  the  end 
of  the  first  part,  which  is  marked  to  be  repeated. 
Entering  upon  the  second  part,  Wagner  begins  the 
"working-out"  section  with  the  first  theme,  treating 
it  in  much  the  same  manner  as  before,  though  at 
greater  length  and  with  more  freedom  of  tonality. 
Once  the  second  subject  appears,  but  only  for  a 
moment,  so  fruitful  does  the  composer  find  its  asso- 
ciates to  be.     On  the  re-entrance  of  the  first,  a  new 
thought  presents  itself,  and  very  beautiful  and  wel- 
come it  is.     While  the  wind  instruments  ])lay  with 
the  theme,  —  the  horn  reiterating  the  first  five  notes, 

18 


274 


THE  STANDARD  SYMPHONIES. 


and  the  flute,  clarinet,  and  bassoon  accompanying 
with  the  remainder,  —  the  strings  have  a  graceful 
passage,  the  development  of  which  leads  to  a  cli- 
max and  preparation  for  the  usual  reprocession  of 
the  themes.  Here  the  composer  does  his  best  to 
emulate  the  Jove-like  utterances  of  Beethoven. 
His  basses,  far  down  the  scale,  sustain  long-drawn 
notes,  or  move  by  semi-tones  with  the  elephantine 
slowness,  while  the  upper  strings,  tremolo,  and  wind 
shriek  from  their  topmost  heights  in  short,  chro- 
matic phrases,  the  intervals  of  which  are  filled  up  by 
the  bassoons  with  the  now  familiar  first  five  notes  of 
the  leading  theme.  Thus  grandiloquently  the  reca- 
pitulation is  reached.  Going  over  the  themes  a 
second  time,  Wagner  abbreviates,  but  is  otherwise 
faithful  to  the  original  statement,  save,  of  course, 
that  the  second  subject  appears  in  the  tonic,  accord- 
ing to  rule.  The  Coda  draws  upon  both  themes, 
and  is  of  important  dimensions,  but  presents  noth- 
ing new.  Indeed,  it  principally  concerns  itself  with 
such  contrapuntal  treatment  of  the  leading  motive 
as  we  have  several  times  met  with  already. 

The  Andante  ma  non  troppo  un  poco  maestoso 
is  in  A  minor,  \  time ;  and  reversing  the  usual 
practice,  employs  a  larger  orchestra  than  the 
Allegro,  —  three  trombones  and  a  double  bassoon 
being  added.  The  movement  has  an  exordium, 
with  a  brief  development.  But  more  remarkable 
than  the  passage  itself  are  two  wailing  notes,  C  and 
E,  for  clarinets  and  oboes  which  precede  and  follow 
it,  each  marked   by  a  "  pause."     When  the  exor- 


THE  SYMPHONY  IN  C. 


275 


dium  ends,  we  have  a  long  melody  for  violas  and 
'cellos,  lightly  accompanied  by  double-basses,  pizzi- 
cato, and  second  violins.     This,  of  course,  was  sug- 
gested to  the  composer  by  a  like  feature  in  the  slow 
movement  of  Beethoven's  "  C  minor."   Wagner  deals 
with  it  in   simple  fashion.     He  gives  the  melody 
for  repetition  to  violas  and  second  violins,  adding 
clarinets    and    bassoons    to    the    accompaniment ; 
and  next,  to   the   first   violins,  with   a   still   fuller 
accompaniment,  —  the  violas  and  'cellos  having  a 
counterpoint  of  continuous  semiquavers.     Then  a 
sort   of  Codetta,   based   upon  the  first   phrase   of 
the   subject,  brings   the   section  to  a  speedy  end 
in  what  would  be  the  tonic  key  but  for  an  inter- 
rupted cadence,  which  opens  the  second  section  in 
F  major.     So  far,  interest  has  been  exclusively  with 
the  strings,  but  now  these  are  silent  altogether,  and 
the  entire  wind  band  —  trombones,  double  bassoon, 
and  all  —  makes  a  pompous  entry.     The  theme  is 
repeated  with  slight  variation,  the  strings  now  add- 
ing   brilliant  ascending  scale-passages,  after  which 
some  development  of  an  interesting  character  takes 
place,  giving  here  and  there  a  suggestion  of  a  later 
manner.     The   section    ends   with   an   interrupted 
cadence  in  C  major.     Presently  the  second  subject 
returns  in   its  original   form.     Then  we   have  the 
exordium  again,  and  after  it  the  principal  melody 
once  more  (second  violins  and  violas),  with  a  varied 
accompaniment.     This   is  followed   by   the   Coda, 
which,  like  the  Codetta  of  the  opening  section,  is 
based  upon  the  first  phrase  of  the  leading  theme. 


276  THE  STANDARD  SYMPHONIES. 

In  the  Scherzo,  Allegro  assai,  C  major,  Wagner 
returns  to  the  orchestra  of  the  first  movement, 
trombones  and  double  bassoon  being  silent.  At 
the  outset  of  the  movement,  he  appears  to  have 
taken  a  hint  from  the  Scherzo  of  Beethoven's 
Ninth  symphony.  As  there,  the  principal  rhythmic 
figure  is  abruptly  announced  in  the  opening  bars, 
in  four  notes,  the  germ  from  which  the  greater  part 
of  the  movement  springs.  With  tonic  and  domi- 
nant harmonies,  they  enter  into  the  leading  theme, 
and  give  a  curiously  jerky  effect  to  the  whole  of 
the  first  section.  Wagner,  however,  takes  care  to 
relieve  this  in  the  second  section,  where,  as  the 
wind  instruments  continue  the  characteristic  figure, 
the  strings  have  an  independent  legato  theme, 
treated  as  a  kind  of  very  free  canon  in  the  octave. 
The  combination  is  effective,  and  serves,  along  with 
the  leading  subject  in  its  pristine  form,  for  the  whole 
of  the  Scherzo  proper.  As  may  be  supposed,  Wag- 
ner plays  vivaciously  with  his  exclamatory  "  figure," 
throwing  it  from  wind  to  strings  and  back  again 
with  Beethoven  persistence,  and  sometimes  employ- 
ing the  wind  to  fill  up  the  third  beat  of  the  bar 
with  quickly  interjected  staccato  chords.  The  whole 
piece  is  full  of  this  gay,  energetic,  and  rather  hu- 
morous life.  Going  on  to  the  Trio,  we  are  not  long 
in  again  discovering  the  influence  of  Beethoven 
upon  its  young  composer.  Every  amateur  remem- 
bers the  opening  of  the  delicious  Trio  in  that  mas- 
ter's Seventh  symphony,  where,  while  clarinets, 
bassoons,  and  horns  have  the  theme,  with  simple 


THE  SYMPHONY  IN  C.  277 

tonic  and  dominant  harmonies,  the  violins  sustain 
an  inverted,  dominant  pedal.  Wagner  gives  his  sub- 
ject to  the  same  instruments,  plus  oboes,  also  with 
tonic  and  dominant  harmony,  and  with  somewhat 
similar  use  of  the  violins. 

The  resemblance  is  obvious,  and  the  conclu- 
sion inevitable.  Wagner  constructs  the  second  sec- 
tion of  his  Trio  by  treating  a  single  phrase  for  the 
most  part  on  a  dominant  pedal.  The  manner  here 
is  decidedly  juvenile,  though  far  from  unpleasing. 
When  the  leading  theme  comes  back,  it  does  so 
with  imposing  accessories,  drums  and  trumpets  join- 
ing in  the  accompaniment,  while  the  lower  strings 
have  an  independent  counterpoint  of  a  very  bold 
and  rhythmic  character,  all  the  strings  afterward 
interjecting  unison  passages  of  quavers  between 
the  plirases  of  the  melody.  Repetitions  follow. 
First  the  Scherzo,  then  the  Trio,  are  heard  again, 
the  whole  closing  with  a  Coda,  which  incessantly 
plays  upon  the  "  figure  "  now  so  well  known. 

In  the  Finale,  Allegro  molto  e  vivace,  Wagner  is 
nothing  if  not  contrapuntal,  —  his  model  being 
Mozart  rather  than  Beethoven.  The  exordium  has 
a  peculiarity  which,  as  far  as  we  know,  is  unique  ; 
that  is  to  say,  it  passes  in  review  a  part  of  the  lead- 
ing subject,  the  whole  of  an  episodical  theme,  and 
a  part  of  the  second  subject,  each  section  being 
divided  from  its  neighbor  by  a  blank  bar.  The 
preacher  thus  early  gives  out  his  text,  but  not  quite 
the  whole  of  it,  as  we  shall  presently  see.  Having 
brought  the   Introduction  to  a  full  clo.-,c,  Wagner 


278  THE  STANDARD  SYMPHONIES. 

States  his  leading  theme,  going  on  at  once  to  a  con- 
tinuation, the  first  phrase  of  which  is  of  immense 
importance  as  a  contrapuntal  factor.  At  present  the 
composer  is  satisfied  with  reiteration  of  the  lead- 
ing phrase,  then  passing  on  quickly  to  the  episode 
(founded  on  the  first  subject),  which,  without  de- 
velopment, gives  way  to  a  brief  tutti,  ending  with  a 
return  of  the  leading  theme  in  its  original  key.  By 
this,  something  of  rondo  form  is  imparted  to  the 
movement.  The  second  subject  next  enters  for 
clarinet  and  bassoons.  It  is  a  capital  imitation  of  the 
old  style,  and  the  composer  develops  it  with  evident 
gusto,  at  one  time  giving  the  bassoon  counterpoint 
to  the  whole  of  the  strings.  Again  the  first  subject 
is  heard,  introductory  to  the  "working-out."  Only 
perusal  of  the  score  can  afford  a  clear  idea  of  the 
elaborate  manner  in  which  the  composer  has  dealt 
with  his  themes  in  this  section  of  the  movement.  It 
must  be  said,  however,  that  he  inverts  the  continua- 
tion subject,  and  produces  interesting  results  by  com- 
bining the  direct  and  inverted  forms.  Now  and  then 
the  episode  comes  in  to  relieve  the  tension  of  scien- 
tific treatment,  but  only  for  a  moment  or  two,  the 
composer  hastening  to  plunge  once  more  into  the 
labyrinth,  through  which  he  moves  with  a  step  firm 
and  assured.  The  rest  of  the  Finale  may  be  passed 
over  quickly.  It  comprises  the  usual  recapitulation, 
an  interesting  lead  up  to  the  Coda  (trombones  intro- 
duced) and  a  peroration,  presto,  full  of  fire,  end- 
ing with  as  many  tonic  and  dominant  chords  as 
there  are  in  the  close  of  Beethoven's  "C  minor." 


SYMPHONIC  POEMS. 


LISZT. 

LES  PEELUDES. 


HAT  is  our  life  but  a  succession  of  pre- 
ludes to  that  unknown  song  whose  first 
solemn  note  is  sounded  by  death  ?  Love 
is  the  enchanted  dawn  of  every  heart,  but 
what  mortal  is  there,  over  whose  first  joys  and  happi- 
ness does  not  break  some  storm,  dispelling  with  its 
icy  breath  his  fanciful  illusions,  and  shattering  his 
altar  ?  What  soul  thus  cruelly  wounded  does  not  at 
times  try  to  dream  away  the  recollection  of  such 
storms  in  the  solitude  of  country  life  ?  And  yet  man, 
it  seems,  is  not  able  to  bear  the  languid  rest  on  Na- 
ture's bosom,  and  when  the  trumpet  sounds  the  signal 
of  danger,  he  hastens  to  join  his  comrades,  no  matter 
what  the  cause  that  calls  him  to  arms.  He  rushes 
into  the  thickest  of  the  fight,  and  amid  the  uproar 
of  the  battle  regains  confidence  in  himself  and  his 
powers." 

This  quotation   from    Lamartine's  "  Md-ditations 
Pod'tiques  "  prefaces  the  score  to  the  "  Preludes," 


28o 


SYMPHONIC  POEMS. 


and  serves  as  a  guide  to  the  meaning  of  the  com- 
position. As  this  work  is  heard,  perhaps,  more 
often  than  any  of  the  other  symphonic  poems,  and 
also  displays  Liszt's  manner  of  thematic  treatment 
in  as  clear  and  intelligible  a  way  as  any,  we  will  un- 
dertake to  point  out  to  the  reader  the  many-sided 
uses  in  which  a  simple  motive  can  be  employed, 
and  will  attempt  it  in  such  a  way  as  to  make  it  in- 
telligible to  the  lay  reader.  The  "  Preludes  "  is 
based  on  two  themes,  and  we  present  them  with 
their  variations  in  two  groups,  A  and  B  :  — 


t 


f 


3^ 


3: 


-^^^ 


^ 


A    Basses.  ^^  arco. 


pizz.         pp 
Trombones. 


^iy  r  ^  /  alr^.^^4^^x,Eg; 


-etc."  3 


f 


ff 
Violins.     Espressivo  cantando. 


4f 


'M-^^ 


^^^ 


^^^t^ 


3 


I-   -1  4 


m 


Wind  instruments. 


rrg^^^^ 


-» — $- 


-^ — etc.  5 


Oboe. 
%J      Dolce  espressiv 


S5^ 


'^% 


^^^ 


F=^6 


^ 


«,♦ 


m& 


v^'T  c  r"  h  'tm-H-H'f^aftpp^tf^  ? 


Horns  and  Trumpets. 


E£Efi 


g= 


g^^P 


^ 


^ 


ff 


W 


LES  PRELUDES. 


2S1 


a    Horns.     A  moroso  cantando. 


S=2l 


^i^^]^gj?]-^'  /^"  ^  \=i=^ri:^ 


?S?^ 


Dolce. 


# 


Tuiii 


fr^-P-^ 


=i=icS= 


-etc.    6 


# 


^fr^d^fe^ 


3b 


3^ 


^ 


s 


^^^^^g/^£ff^ 


Given  a  number  of  intervals  at  i,  by  playing  the 
eight  lines  through,  or  humming  them,  the  reader 
will  at  once  see  that  although  they  appear  in  very 
different  shapes  they  contain  essentially  the  same 
notes  as  *i.  The  line  2  opens  the  composition 
pizzicato  pianissimo  by  the  double  basses  with  mys- 
terious effect,  hinting  at  the  "  unknown  song."  The 
theme  is  then  enlarged  and  repeated  on  D,  running 
finally  into  a  dominant  chord  on  G,  and  working  up 
in  a  grand  crescendo  to  the  fortissimo  outbreak  at  3, 
in  which  all  the  bass  instruments  carry  the  melody 
as  given  above,  repeated  with  different  harmonies 
and  with  ever  increasing  force,  until  it  appears  after 
a  rapid  decresccndo  in  a  I'istcsso  tempo  in  the  vio- 
lins, as  at  4.  The  accompaniment  of  the  phrase  in 
this  form  is  very  beautiful,  the  basses  moving  in 
mysterious  pizzicatos,  with  an  occasional  responsive 
motive  which  also  grows  out  of  the  theme.  After 
repeating  the  theme  in  the  key  of  E  and  an  antith- 
esis in  the  key  of  C,  the  motive  at  B  is  brought  in, 
finely  scored  for  horns,  as  at  a.     The  violins  con- 


282  SYMPHONIC  POEMS. 

nect  or  lead  into  the  different  repeats  with  a  soaring 
figure,  while  the  basses  have  a  figure  somewhat  like 
the  one  given  at  d,  which  appears  in  that  form  in 
the  accompaniment  of  the  "  pastorale."  Then  fol- 
lows the  stormy  period  breaking  in  on  hfe's  happy 
spring.  It  will  not  be  difficult  for  the  listener  to 
trace  the  detached  portions  of  the  motive,  which 
appear  throughout  in  connection  chiefly  with  chro- 
matic runs  and  a  superabundance  of  diminished 
seventh  chords.  The  trumpet  motive,  in  its  form 
as  at  5,  is  also  brought  in  toward  the  end  of  that 
tempestuous  passage. 

When  the  skies  brighten  again,  the  motive  ap- 
pears in  its  most  charming  form  as  at  6  and  7,  with 
an  accompaniment  in  color  and  form  exceedingly 
graceful,  and  flowing  naturally  into  the  Allegretto 
pastorale,  which  is  built  up  on  the  motive  at  d,  using 
the  same  at  first  with  great  ingenuity  as  a  lead- 
ing motive,  and  bringing  out  its  pastoral  character 
by  the  skilful  use  of  oboes,  clarinets,  etc.,  while  later 
on  it  is  used  in  connection  with  the  theme  a,  as  an 
accompaniment  at  times  below  the  melody,  as  indi- 
cated in  c,  d,  and  at  times  moving  above  it.  The 
dreamy,  swinging  motion  of  the  movement  is  finally 
interrupted  by  two  abrupt  chords,  and  the  Allegro 
marziale  opens  with  horns  and  trumpets,  as  at  8, 
connecting  with  the  second  theme  in  its  martial  garb 
at  c,  and  leading  in  triumphant  measures  to  a  repe- 
tition of  the  main  theme,  as  we  heard  it  once  at  3, 
only  reinforced  with  all  the  resources  known  to  the 
modern  orchestra. 


TASSO. 


283 


To  point  out  the  varied  employment  of  the  lead- 
ing motive  by  using  it  only  in  part  or  dwelling  on 
its  more  characteristic  intervals,  by  inverting  it  and 
otherwise,  would  lead  too  deeply  into  technicalities  ; 
but  enough  has  been  given  to  show  how  by  change 
of  rhythm  and  other  means  of  expression  an  appar- 
ently simple  succession  of  intervals  can  be  developed 
into  a  tone-poem.  In  Liszt's  orchestral  composi- 
tions, one  should  always  keep  the  leading  motives 
in  mind,  as  nearly  all  are  written  from  that  stand- 
point. 

TASSO. 

The  sad  fate  of  the  unhappy  Italian  has  furnished 
Goethe  and  Byron  with  the  material  for  great  poeti- 
cal works.  Liszt,  as  he  says,  was  most  impressed 
by  the  powerful  conception  of  Byron,  who  intro- 
duces Tasso  in  prison,  in  a  monologue,  but  could 
not  confine  himself  to  the  English  poet,  as  he 
wanted  to  portray  also  his  final  triumph.  Misjudged 
in  life,  he  secured  at  his  death  a  glorification  of  his 
genius  which  overwhelmed  his  lifelong  enemies  and 
persecutors.  Liszt  therefore  called  his  symphonic 
poem,  "  Lamento  e  Trionfo,"  suffering  and  trium- 
phant vindication  being  the  great  contrasts  in  the  life 
of  the  poet. 


■;*-■■♦-•■  •'g-^'"^'  f-'-'M-*- *-'~'^*--»-  "^    «ul    t!«'^     ^ 


rtl. 


284  SYMPHONIC  POEMS. 

"  This  song  of  the  Venetian  gondoliers  once 
made  a  powerful  impression  on  me,"  says  Liszt, 
"  and  when  I  attempted  to  illustrate  Tasso  musically 
it  recurred  to  me  with  such  imperative  force  that  I 
made  it  the  chief  motive  for  my  composition."  The 
work  opens  with  the  last  measures  of  the  above 
song. 

Full  of  sadness  and  grief  almost  beyond  endur- 
ance, it  expresses  the  very  soul  of  Tasso.  After 
developing  the  phrase,  an  accelerando  leads  to  an 
Allegro  strepitoso,  which  takes  us  to  the  prison  of 
the  poet,  the  harsh  chords,  although  still  formed 
on  the  triplet  figure  of  the  main  theme,  fairly 
making  us  feel  the  rattling  of  the  chains,  while  the 
chromatic  steps  of  the  lament  appear  fortissimo  to 
ever-changing,  diminished  seventh  chords.  After 
a  repetition  of  the  Lento,  the  main  theme  at  a 
enters  at  an  Adagio  mesto,  the  melody  being  given 
to  bass  clarinet  and  'cellos  at  first,  con  sordini, 
and  then  repeated  by  the  violins.  A  new  melody 
then  appears  for  'cellos  and  horn,  repeated  by  the 
violins,  which  continue  with  an  imploring  motive 
accompanied  by  descending  chromatics,  after  which 
the  main  theme  at  a  reappears,  this  time  with  an 
instrumentation  rich  and  full,  the  brasses  carrying 
the  melody  and  changing  its  character  to  one  of 
stately  festivity,  ending  in  a  recitative  embodying 
the  closing  motive.  An  Allegretto  mosso  con 
grazia  quasi  menuetto,  in  F  sharp  major,  follows 
with  a  theme  representing,  as  it  were,  the  prin- 
cess who  ensnared  the  heart  of  the  poet,  and  which 


FESTKLANGE.  285 

in  its  further  working-up  appears  in  the  wind  in- 
struments, contrasted  with  a  broader  and  more 
sentimental  phrase  for  the  strings.  This  phrase 
is  developed  to  some  length,  after  which  the  Alle- 
gro strepitoso  re-enters  and  closes  the  Lamento. 
From  here  on,  the  Trionfo  claims  its  rights.  The 
very  opening  of  the  Allegro  molto  con  brio,  although 
still  built  upon  the  same  material,  is  changed  by 
characteristic  instrumentation  and  appropriate  tem- 
pos into  jubilant  triumph.  This  last  part  displays 
in  the  most  brilliant  manner  the  composer's  mastery 
over  musical  forms,  in  combining  the  different 
themes  and  motives,  and  moulding  them  by  his  great 
feeling  for  tone-color  into  apparently  new  forms, 
startling  us  throughout  by  the  magic  transformation 
of  the  lament  into  glorious  triumph,  yet  all  based 
on  the  same  melodic  design. 


FESTKLANGE. 

The  Allegro  mosso  con  brio,  in  the  key  of  C 
major,  begins  with  a  martial  rhythm  given  out  by 
the  kettle-drums,  which  is  taken  up  by  the  horns 
and  other  instruments,  until,  passing  through  a 
non-accord,  it  rests  on  a  second  accord  of  C  with 
the  C  flat  in  the  basses,  and  as  such  is  treated  in 
the  manner  of  a  cadenza,  various  devices  of  scale 
figures  and  broken  chords  furnishing  the  superstruc- 
ture. This  whole  section,  repeated  a  step  higher, 
and  closing  on  a  second  accord  of  D,  with  C  in 
the  basses,  then  runs  into  an  Andante  sostenuto, 


286  SYMPHONIC  POEMS. 

which,  after  a  short  passage  for  the  brasses,  develops 
a  deHcate  treatment  of  a  non-accord  on  G  and  A, 
and  after  eight  measures  returns  into  the  first 
tempo,  and  with  a  short  modulation,  strikes  the 
principal  theme,  which  is  worked  up  to  consider- 
able length,  when  the  rhythm  of  the  Introduction 
r  U*  r  Cj*  enters  in  a  Coda  of  eight  measures, 
connecting  with  an  Allegretto  un  poco  mosso, 
Tempo  di  Polacca,  —  a  dance  form  which,  next  to 
the  march,  and  akin  to  the  stately  polonaise,  is 
most  appropriate  for  the  expression  of  a  festive 
scene.  Its  chief  melody  closes  with  a  trill  ca- 
denza, after  which  the  violins  respond  with  a  phrase 
based  on  inversion,  followed  by  a  livelier  figure  of  a 
more  pronounced  polacca  character,  which  appears 
alternately  in  the  violins  and  flutes,  and  which  pre- 
dominates during  the  rest  of  the  movement,  until 
its  return  to  the  Tempo  primo.  The  Allegro  mosso 
con  brio  is  repeated  in  more  extended  form, 
and  with  new  and  enriched  orchestration,  only  to 
return  once  more  to  the  Polacca  intermezzo,  treated 
with  similar  variations  and  leading  into  the  last 
Allegro  in  common  time.  Utilizing  the  themes 
of  the  march  movement  and  reiterating  the  more 
essential  motives,  it  runs  into  the  Coda,  which  by 
the  free  use  of  the  trumpet  figure  at  the  very  open- 
ing and  a  very  forcible  ascending  motive  in  the 
basses  brings  the  composition  to  a  close  in  truly 
festive  style. 


MAZEPPA.  287 

MAZEPPA. 

"  Mazeppa "  is  the  sixth  in  the  list  of  Liszt's 
symphonic  poems,  and  has  for  its  theme  the  story 
of  the  hero  of  the  steppes  which  has  been  made 
famihar  by  Byron's  poem.  Liszt,  however,  took 
for  the  ground-work  of  his  composition  the  Ma- 
zeppa of  Victor  Hugo,  who,  although  following 
the  story  as  told  by  Byron,  idealizes  the  incident 
into  an  allegory  of  "  the  unbridled  flight  of  genius 
and  its  final  triumph  through  suffering  and  ad- 
versity." 

The  musical  treatment  is  divided  into  three  sec- 
tions. An  Allegro  agitato,  in  D  minor,  illustrates 
the  wild  flight  of  the  maddened  horse,  and  the 
torture,  suffering,  and  despair  of  Mazeppa.  The 
second  movement,  a  short  Andante,  pictures  the 
end  of  the  mad  race,  the  dead  steed,  the  human 
victim  lying  in  utter  misery,  his  life-blood  ebbing 
slowly  ("  redder  than  the  maple  when  spring  forces 
the  young  leaves").  A  short  interlude  leads  into 
the  Allegro  marziale,  in  D  major  ("  To  him  great- 
ness arises  from  suffering  and  anguish  ;  the  mantle 
of  the  hetman  will  fall  upon  him,  and  all  will  bow 
before  him").  The  treatment  of  the  musical  themes 
is  similar  to  that  generally  employed  by  Liszt  as 
set  forth  in  the  description  of  "  Les  Precludes." 

After  an  Introduction  of  eighteen  measures,  which 
starts  from  an  abrupt  discord  with  a  passage  in 
triplets  for  the  strings,  like  the  wild  tramping  of 
the   horse  ("  They  fly  through    the   narrow  straits 


288  SYMPHONIC  POEMS. 

of  the  valley  as  storms  that  force  their  way  through 
the  mountain  gorges,  like  a  falling  star  "),  we  strike 
the  main  theme.  It  is  given  out  by  the  basses  and 
trombones,  and  worked  out  with  great  effect.  It 
may  be  mentioned  here  that  in  the  first  part  Liszt, 
in  rushing  through  diminished  seventh  chords,  makes 
great  use  of  "  violini  divisi ;  "  that  is,  by  using  as 
many  as  six  different  violin  parts,  and  once  as  many 
as  eleven,  thereby  gaining  great  richness  of  sound, 
and  at  the  same  time  retaining  the  rushing  motion 
expressive  of  the  fearful  ride.  A  chromatic  scale  in 
the  basses  pressing  upward  against  a  trill  on  C 
sharp  in  the  violins  forms  a  short  counter-theme, 
and  leads  to  the  introduction-  of  the  main  theme, 
which  has  been  called  the  Mazeppa  motive  proper. 
In  calling  attention  to  the  first  three  steps,  re- 
peated by  the  winds  through  twelve  measures, 
with  the  note  gemendo  ("  groaning ")  as  a  guide 
for  their  characteristic  expression,  we  turn  to  the 
Andante,  only  to  find  the  same  motive,  used  this 
time  plaintively,  "  quasi  recitative."  During  the 
next  twelve  measures  the  step  of  the  sixth  con- 
tinually appears  as  a  fragment  of  the  motive. 

The  final  Allegro  marziale  enters  with  a  new 
theme,  the  ascending  intervals  of  which  form  a 
fine  contrast  with  the  drooping  character  of  the 
Mazeppa  motive.  An  original  Cossack  tempo  in 
the  Trio  brings  the  composition  to  a  triumphant 
close,  not,  however,  without  an  occasional  reminder 
of  the  first  motive.  The  instrumentation  is  mas- 
terly.    Though  easy  to  comprehend  in  the  expres- 


HUNNENSCHLA  CHT.  2  S9 

sion  of  the  different  phrases,  only  a  study  of  the 
score  or  repeated  hearings  will  fully  reveal  the 
consummate  skill  displayed  by  the  composer. 


HTJNNENSCHLACHT. 

The  "  Hunnenschlacht  "  ("  The  Battle  of  the 
Huns")  was  suggested  by  Kaulbach's  cartoon  rep- 
resenting the  legend  of  the  battle  in  mid-air  be- 
tween the  spirits  of  the  Huns  and  of  the  Romans 
who  had  fallen  before  the  walls  of  their  city.  The 
music  depicts  the  war  of  races  and  the  final  triumph 
of  the  Christian  faith.  The  opening,  Allegro  non 
troppo  tempestuoso,  in  C  minor,  begins  with  the 
low  rumbling  of  kettle  drums,  and  an  ascending 
motive  in  which  the  uncanny  step  of  the  minor 
scale  prevails.  The  'cellos  start,  and  are  soon  re- 
inforced by  the  other  strings  in  unison.  The  di- 
minished seventh  chord,  most  befitting  to  the  minor 
scale,  is  extensively  employed  in  the  brasses  and 
farther  ,on  in  the  double  basses.  At  a  Piu  mosso 
allegro  energico  assai,  these  chords  in  a  somewhat 
altered  form  are  made  the  chief  motive  for  the 
first  part.  After  a  repetition  of  the  opening  theme, 
the  'cellos  and  bassoons  give  out  the  war-cry,  piano, 
as  if  in  the  far  distance,  to  the  low  rumbling  of  the 
drums.  The  time  then  changes,  and  a  new  rhythmic 
motive  enters,  closing  with  a  short  sixtole  figure  in 
the  violins  which  enhances  the  wild  character  of 
the  music.  During  the  fray  the  trombones  give 
out   the   strains   of   the    chorale,  representing  the 

>9 


290 


SYMPHONIC  POEMS. 


Christian  warriors.  The  war-cry  motive  resounds 
through  all  the  wind  instruments,  while  the  other 
themes  to  which  we  have  drawn  attention,  in  suc- 
cession or  used  jointly,  keep  up  the  turmoil.  Only 
twice  appears  a  new  feature  in  a  succession  of 
scale  runs,  fortissimo,  in  unison  for  the  strings. 
The  peculiar  rhythm  ^  |  ^  |  ^  |  ^  I  ^  lends 
itself  well  to  the  increasing  stormy  character.  The 
fortissimos  grow  into  double  fortissimos,  the  agitato 
mto  a  furioso,  until  all  the  forces  are  engaged,  and 
enter  with  the  whole  weight  of  the  orchestra  on  the 
Andante,  in  E  flat,  the  chord  being  held  by  the 
higher  instruments,  while  the  basses  of  strings  and 
brasses  repeat  the  war-cry  double  fortissimo,  on 
the  three  steps  of  the  major  chord  of  E  flat.  They 
cease  abruptly,  and  the  organ  takes  up  the  old 
hymn,  "  Crux  fidelis,  inter  omnes." 

The  strains  of  the  chorale,  which  sounded  as  if 
from  afar,  are  interrupted  by  the  overwhelming 
fanfare  opening  the  Andante,  until  the  "  Crux 
fidelis  "  claims  its  right,  and  a  very  beautiful  scoring 
of  the  fine  old  melody,  set  off  by  truly  gothic  ara- 
besques in  solo  figures  for  the  violin,  oboe,  and 
flute,  leads  to  a  peaceful  and  restful  mood.  The 
final  Allegro,  in  the  key  of  C,  grows  gradually  into 
the  hymn  of  triumph.  The  war-cry  resounds  only 
mezzo  forte,  and  in  stately,  solemn  tempo,  the 
chorale  increases  in  breadth  of  instrumentation. 
The  stretto  opens  a  long  crescendo,  and  the  organ 
finally  joins  the  orchestral  forces  with  whatever 
resources    the    instrument    may   have,   dominating 


TODTENTANZ. 


291 


the  grand  close  with  long  held  chords,  while  the 
orchestra  accents  only  with  abrupt  chords  the  pom- 
pous triumphal  march  of  the  victorious  legions. 


TODTENTANZ    (DANSE   MACABRE). 

The  "Todtentanz  "  of  Liszt  has  for  its  sub-title, 
"  Paraphrase  of '  Dies  Irge,'  "  and  is  composed  of  a 
series  of  variations  for  piano  and  orchestra,  for  the 
basis  of  which  he  has  used  the  Cantus  firmus,  so  long 
associated  with  the  hymn.  The  sub-title,  however, 
is  somewhat  misleading.  The  work  is  not  a  para- 
phrase of  the  "  Dies  Irae,"  but  a  series  of  tone- 
sketches  meant  to  illustrate  the  pictures  in  Hans 
Holbein's  "  Dance  of  Death,"  at  Basle.  The  mo- 
tive of  the  hymn  itself,  however, 


I 


^ 


iE 


s 


i^^ 


^ 


i 


i 


gJz^-ji^jg^ 


runs  through  the  whole  work,  sometimes  as  the 
melody,  and  again  as  the  basis  of  the  variations, 
but  always  playing  its  part  as  the  motive  of  death, 
the  common  lot  of  humanity.  Each  picture  in 
the  Holbein  series  is  represented  by  a  variation, 
and  the  characters  pass  before  us  in  the  music 
with  almost  equally  realistic  effect.  Liszt's  skill 
in  characterizations  of  this  kind  was  extraordinary. 
It  will  not  be  difficult  for  the  attentive  hearer  to  re- 
cognize the  student,  man  of  business,  youth,  sceptic, 


292 


SYMPHONIC  POEMS. 


monk,  soldier,  maiden,  child  at  play,  and  the  other 
figures  in  Holbein's  sombre  procession.  One  of  the 
variations,  the  fourth,  which  is  in  canonic  form,  is 
the  work  of  another  composer,  Weitzmann,  of  Ber- 
lin, and  was  added  by  Liszt  in  1880.  A  portion  of 
the  title,  '•'  Danse  Macabre,"  may  also  leave  the  im- 
pression that  its  subject  is  the  same  as  that  which 
Saint- Saens  has  treated  in  his  symphonic  poem  of 
the  same  name ;  but  the  two  bear  no  resemblance, 
the  latter  being  a  short  and  fanciful  waltz  measure, 
intended  to  illustrate  a  poem  by  Cazalis,  which  is 
explained  elsewhere. 


A   MIDSUMMER  NIGHT'S  DREAM. 


293 


MENDELSSOHN. 

MUSIC  TO  "A  MIDSUMMER  NIGHT'S  DEEAM."    Op.  61. 

HE  incidental  music  to  Shakspeare's  "  Mid- 
summer Night's  Dream,"  composed  by 
Mendelssohn,  though  not  strictly  a  sym- 
phonic poem,  partakes  sufficiently  of  its 
nature  to  entitle  it  to  a  place  in  a  work  of  this  kind. 
It  is  divided  in  two  parts,  an  overture,  op.  21,  and 
the  music  to  various  scenes  of  the  play,  op.  61. 
The  overture  in  A  major  was  written  in  1826, 
Mendelssohn  being  then  in  his  seventeenth  year, 
though  the  original  score  was  considerably  changed 
in  accordance  with  suggestions  made  by  Marx. 
It  was  played  several  times  as  a  four-hand  piece 
for  the  piano  by  Mendelssohn  and  his  sister  in 
the  pleasant  garden-house  of  their  new  home, 
where  also  it  was  performed  to  a  large  gathering 
of  friends,  and  was  first  heard  in  public  at  Stettin, 
in  February,  1827,  where  it  was  received  with  ex- 
traordinary enthusiasm.  It  is  especially  interesting 
as  being  the  starting-point  in  his  musical  career. 
Though  he  had  written  several  minor  pieces  previous 
to  this,  the  overture  was  the  first  to  express  his  own 
individuality  and  a  genuine  maturity  of  form,  and 
this  to  such  a  degree  that  when  he  wrote  the  music 


294 


SYMPHONIC  POEMS. 


to  the  play  seventeen  years  later,  it  filled  its  place  in 
the  perfected  scheme  as  freshly  and  fittingly  as  if  it 
were  composed  simultaneously  with  the  rest.  It 
contains  all  the  motives  of  the  play,  —  the  songs  and 
dances  of  the  fairies,  the  chases  of  the  lovers,  the 
dance  of  the  rustic  clowns,  the  grace  of  Titania,  and 
the  airiness  of  Puck.  It  leads  us  into  the  fairy 
kingdom,  and  fascinates  us  with  its  poetical  beauty, 
refinement,  grace,  and  lightness  ;  and  yet  this  almost 
ethereal  mixture  of  humor  and  fancy  is  constructed 
in  the  strongest  and  most  solid  manner.  It  is  of  in- 
terest in  this  connection  that  the  melody  near  the 
close  of  the  overture,  suggested  by  Titania's  request 
to  the  fairies  to  sing  her  to  sleep,  is  almost  identi- 
cally the  same  as  the  Mermaid's  song  in  Weber's 
"  Oberon  ;  "  and  the  charge  of  plagiarism  has  more 
than  once  been  brought  against  Mendelssohn.  Sir 
George  Grove,  however,  by  a  comparison  of  the  dates 
of  the  two  compositions,  has  demonstrated  that  it 
was  impossible  for  Mendelssohn  to  have  seen  the 
Weber  song  when  he  wrote  the  melody,  and  that 
the  resemblance,  therefore,  is  only  one  of  those 
coincidences  which  are  often  found  in  music.  An 
interesting  story  is  also  told  by  his  friend  Schubring, 
showing  how  closely  he  studied  the  sounds  of 
Nature.     Schubring   says  :  — 

"  On  the  sole  occasion  I  rode  with  him  we  went  to 
Panknow,  walking  thence  to  the  Schonhausen  Garden. 
It  was  about  the  time  when  he  was  busy  with  the  over- 
ture to  '  A  Midsummer  Night's  Dream.'  The  weather 
was  beautiful,  and  we  were  engaged  in  animated  con- 


A   MIDSUMMER  NIGHT'S  DREAM.      295 

versation  as  we  lay  in  the  shade  on  the  grass,  when 
all  of  a  sudden  he  seized  me  firmly  by  the  arm,  and 
whispered,  '  Hush  ! '  He  afterwards  informed  me  that 
a  large  fly  had  just  then  gone  buzzing  by,  and  he 
wanted  to  hear  the  sound  it  produced  gradually  die 
away.  When  the  overture  was  completed,  he  showed 
me  the  passage  in  the  progression  where  the  'cello 
modulates  in  the  chord  of  the  seventh  of  the  descend- 
ing scale  from  B  minor  to  F  sharp  minor,  and  said, 
'  There,  that 's  the  fly  we  heard  buzzing  past  us  at 
Schonhausen.'  " 

In  1843,  Mendels5oliii  received  orders  from  the 
King  of  Prussia,  Frederick  William  IV.,  to  compose 
the  music  for  Tieck's  arrangement  of  ''  A  Midsum- 
mer Night's  Dream,"  which  was  to  be  performed  in 
September  of  that  year.  He  completed  the  music 
in  the  middle  of  July,  and  brought  it  to  Berlin,  but 
the  rehearsals  did  not  begin  until  September  27,  and 
after  eleven  of  them  it  was  finally  produced  at  the 
new  palace  at  Potsdam,  October  14.  The  music 
did  not  at  first  meet  with  success.  It  was  some 
time  before  the  public  fairly  appreciated  it ;  but  this 
was  owing  rather  to  the  shortcomings  of  the  stage 
management  than  to  any  defects  in  the  music. 
Devrient,  who  took  the  part  of  Lysander,  has  left 
some  interesting  facts  concerning  it  in  his  "  Recol- 
lections."    He  says  :  — 

"The  only  bright  spots  in  the  Berlin  transactions 
were  the  commissions  of  the  king.^  This  time  it  was 
the  '  Midsummer  Night's  Dream'  that  formed  Felix's 

1  These  also  included  the  music  to  "  Antisonc." 


296  SYMPHONIC  POEMS. 

relaxation.  When  he  brought  it  with  him,  at  the  end 
of  September,  completed,  some  incongruities  were 
perceptible,  in  consequence  of  his  not  having  written 
it  with  the  scenic  requirements  constantly  in  view. 
Tieck  also  had  neglected  some  points  that  had  been 
settled  upon.  Thus,  he  divided  the  piece  into  three 
acts,  certainly  not  without  good  reason,  so  that  the 
night  in  the  wood  might  not  be  interrupted ;  but 
P^elix  did  not  know  of  this,  and  had  composed  two 
entr'actes  according  to  Schlegel's  division  (Nos.  5 
and  7)  that  were  too  lovely  to  be  suppressed.  Some  ex- 
pedient had  to  be  found  to  bring  in  these  pieces  in  the 
course  of  the  act  without  dropping  the  curtain.  This 
could  be  done  with  the  Agitato  in  A  minor  (No.  5)  to 
accompany  Hermia's  seeking  after  her  lover,  especially 
if  filled  by  the  actress  with  grace  and  variety;  but 
with  the  Notturno  in  E  major  (No.  7)  the  long  contem- 
plation of  the  sleeping  lovers  was  rather  a  painful  ef- 
fort, and  Tieck's  escape  from  the  dilemma,  by  pushing 
forward  some  pieces  of  scenery  to  screen  the  lovers, 
was  rather  coarse  and  stagy  and  of  doubtful  effect. 
The  beauty  of  the  composition  made  people  indul- 
gent to  these  shortcomings,  no  less  than  with  the 
song  of  the  fairies  (No.  3.  A  major,)  because  it  does 
not  fulfil  Titania's  '  Sing  me  now  asleep,'  and  is  less 
a  slumber  song  than  a  merry  round  of  the  fairies 
and  their  sprightly  'good-night'  wishes  through  the 
wood." 

The  incidental  music  is  divided  into  twelve  num- 
bers. The  first,  a  Scherzo,  in  G  minor,  comes  after 
the  first  act  of  the  play.  The  realities  of  the  happy 
love  of  Theseus  and  Hippolyta,  the  distressing  per- 
plexities of  Hermia  and  Helena  in  their  cross  game 


A   MIDSUMMER  NIGHT'S  DREAM. 


297 


of  love  with  Lysander  and  Demetrius,  and  the  jolly 
assignment  of  parts  in  "  Pyramus  and  Thisbe  "  to 
Quince  and  Bottom's  famous  company  have  already 
transpired.  The  Scherzo  rings  up  the  curtain,  dis- 
closes the  fairy  world  of  Titania  and  Oberon,  with 
its  chattering  elves  and  their  mischievous  gambols, 
interrupted  now  and  then  by  the  griefs  of  the  un- 
fortunate and  tormented  lovers,  and  gradually  dies 
a.vay  in  airy  lightness. 

Xo.  2  is  a  melodrama  accompanying  the  first 
scene  of  Act  II.,  —  the  reply  of  the  fairy  to  Puck,  — 

"  Over  hill,  over  dale, 
Thorough  bush,  thorough  brier, 
Over  park,  over  pale, 
Thorough  flood,  thorough  fire, 
I  do  wander  everywhere. 
Swifter  than  the  moon's  sphere,"  etc.,  — 

and  the  continuation  of  their  dialogue,  until  it  is  in- 
terrupted by  the  entrance  of  Oberon  and  Titania 
with  their  respective  retinues,  at  which  point  the 
music  leads  up  to  the  Elfenmarsch  (Fairy  March), 
one  of  the  daintiest  of  rhythms.  At  its  close  the 
music  accompanies  the  dialogue  between  Oberon 
and  Titania,  Oberon's  instructions  to  Puck,  and 
the  melancholy  encounter  of  Demetrius  and 
Helena. 

No.  3  is  a  song  and  chorus,  Allegro  ma  non 
troppo,  for  the  beginning  of  the  second  scene, 
where  Titania  requests,  "  Sing  me  now  asleep, 
then  to  your  offices  and  let  me  rest."  The  entire 
song  — 


298 


SYMPHONIC  POEMS. 


"  You  spotted  snakes,  with  double  tongue, 
Thorny  hedge-hogs,  be  not  seen. 
Newts  and  blindworms,  do  no  wrong, 
Come  not  near  our  fairy  queen. 
Chorus. —  Philomel,  with  melody. 

Sing  in  our  sweet  lullaby,"  — 

is  set  for  a  soprano  duet  with  chorus,  closing  with 
the  exit  of  the  fairies  and  the  sleep  of  Titania. 

No.  4  is  a  melodrama,  Andante,  accompanying 
the  episode  where  Oberon  squeezes  the  juice  of 
the  purple  flower  upon  Titania's  eyelids  ( "  What 
thou  seest  when  thou  dost  wake,"  etc.),  and  the 
short  dialogue  in  the  wood  between  Lysander  and 
Hermia. 

No.  5  is  an  Intermezzo,  Allegro  appassianato, 
which  in  agitated,  restless,  and  yet  dainty  style  ac- 
companies the  sad  quest  of  Helena  for  Demetrius, 
and  her  encounter  with  Lysander,  with  its  magical 
results,  and  leads  up  to  an  Allegro  molto  commodo, 
preparatory  to  the  introduction  of  the  rustic  actors 
at  the  beginning  of  the  third  act. 

No.  6  is  a  melodrama,  Allegro,  accompanying  the 
rehearsal  of  the  actors,  Puck's  interruption  and  the 
mischievous  tricks  he  plays  upon  them,  Titania's 
awakening  and  declaration  of  love  for  Bottom,  the 
entrance  of  the  fairies,  and  the  subsequent  adven- 
tures of  Hermia  and  Demetrius,  Lysander  and 
Helena. 

No.  7  is  the  well-known  Nocturne,  in  E  major, 
with  its  exquisite  horn  passages  and  genuine  feeling 
of  the  woods,  to  the  strains  of  which  Bottom  has  his 
"  exposition  of  sleep  "  and  Titania  falls  into  slumber, 


A   MIDSUMMER  NIGHT'S  DREAM.      299 

caressing  and  doting  upon  her  uncouth  lover  in  the 
ass's  head. 

No.  8  is  a  melodrama,  Andante,  accompanying 
Oberon's  welcome  to  Puck  ("  Her  dotage  now  I  do 
begin  to  pity  "),  the  awakening  of  Titania,  the  dia- 
logue between  her  and  Oberon,  and  the  entrance  of 
Theseus,  Hippolyta,  and  their  train. 

No.  9  is  the  wedding  march,  Allegro  vivace,  at 
the  end  of  the  fourth  act,  whose  brilliant  and  stirring 
rhythm  and  the  festive  passages  for  the  procession 
are  so  familiar  that  they  need  no  description.^ 

No.  10  is  a  melodrama,  Allegro  commodo,  accom- 
panying the  performance  in  the  fifth  act  of  "  The 
most  lamentable  comedy  and  most  cruel  death  of 
Pyramus  and  Tliisbe;"  and  Mendelssohn  has  not 
forgotten  to  write  a  short  funeral  march  when  the 
trusty  sword  sends  Pyramus's  "  soul  to  the  sky  "  and 
*'  imbrues  "  tlie  gentle  breast  of  Thisbe. 

No.  II,  EinTanz  von  Riipeln,  Allegro  molto,  ac- 
companies the  Bergomask  dance  which  follows  the 
play  with  uncouth  jollity  until  it  is  interrupted  by 
Theseus's  injunction,  — 

"  The  iron  tongue  of  midnight  hath  told  twelve. 
Lovers,  to  bed;  'tis  almost  fairy  time,"  etc. 

No.  12,  melodrama.  Allegro  vivace,  begins  with 
the  departure  of  the  wedding  procession.     Dark- 

1  Ehlert  has  made  a  very  penetrating  criticism  of  this  favorite 
march.  He  says:  "  Would  it  not  have  been  possible  to  give  this  piece 
a  more  ideal  stamp  ?  Would  it  not  have  been  possible  for  this  hand, 
so  wondrously  gifted  with  the  power  of  proportion,  to  write  a  wcd- 
ding  march  in  which,  without  detriment  to  its  festive  character, 
our  minds,  but  lately  made  familiar  with  the  supernatural,  might 
have  been  spared  the  trivial  colors  of  reality  ? " 


300 


SYMPHONIC  POEMS. 


ness  now  comes  on  apace,  and  Puck  begins  his 
sombre  soliloquy,  — 

"  Now  the  hungry  lion  roars, 

And  the  wolf  behowls  the  moon ; 
Whilst  the  heavy  ploughman  snores, 
All  with  weary  task  fordone,"  etc,  — 

and  the  music  leads  up  to  the  Finale,  —  a  captivating 
song  and  dance  of  the  fairies  as  Oberon  blesses  the 
palace,  and  bestows  his  benediction  upon  the  three 
happy  couples ;  — 

"  With  this  field-dew  consecrate, 
Every  fairy  take  his  gait, 
And  each  several  chamber  bless 
Through  this  palace  with  sweet  peace; 
And  the  owner  of  it  blest 
Ever  shall  in  safety  rest. 
Trip  away;  make  no  stay; 
Meet  me  all  by  break  of  day  !  " 


JOAN  OF  ARC.  301 


MOSKOWSKI. 

JOAN  OF  ARC. 


n^roalORITZ  MOSKOWSKI,  a  composer  whose 
h^k  \  works  are  rapidly  taking  a  prominent 
"^*"^'"|  place  in  concert  repertories,  was  born  in 
Berlin  in  1854,  and  made  his  debut  as 
a  pianist.  His  earlier  works  were  piano  composi- 
tions, among  them  some  Spanish  dances  and  duets 
which  were  favorably  received  at  once.  Among 
his  larger  works  are  a  pianoforte  concerto  and  two 
symphonies ;  but  his  symphonic  poem,  "Joan  of  Arc," 
and  an  orchestral  suite  are  best  known.  The  former 
was  first  played  at  the  London  Philharmonic  con- 
certs, May  20,  18S5.  It  is  programme-music  in  the 
strict  sense,  and  is  divided  into  four  movements, 
the  character  of  which  is  clearly  enough  indicated  by 
the  mottoes, "  Pastoral  Life,"  "  Inner  Consciousness," 
"  Former  Memories,"  "Joan  in  Prison,  her  Triumph, 
Death,  and  Apotheosis."  The  first  two  movements, 
though  not  very  clearly  connected,  contain  some 
very  beautiful  thoughts.  The  "  Inner  Conscious- 
ness "  is  not  strikingly  portrayed,  but  the  substance 
of  the  music  is  unusually  attractive.  The  final 
movement  which  brings  forward  the  catastrophe  is 
one  of  great  power.     Considered  as  a  whole,  it  is 


302 


SYMPHONIC  POEMS. 


doubtful  whether  the  poem  will  ever  be  as  popular 
as  the  suite  to  which  reference  is  made  above.  This 
is  in  five  movements  ;  and  as  the  composer  was  not 
restricted  by  any  dramatic  necessities,  he  has  given 
his  fancy  free  range,  and  produced  an  unusually 
pleasant  series  of  sketches.  It  is  in  five  movements, 
—  the  first,  an  Allegro  molto,  in  symphonic  form, 
with  two  principal  themes  and  a  horn  quartet; 
the  second,  Allegro  giojoso,  characterized  by  spark- 
ling, tinkling,  bell-like  effects  ;  the  third,  an  Andante 
theme  with  variations,  the  melody  itself,  though  very 
long,  being  in  the  nature  of  a  pretty  song ;  the  fourth, 
an  Intermezzo,  in  the  Minuet  and  Trio  form ;  and 
the  last,  Perpetuum  mobile,  a  very  vivacious  move- 
ment, though  barely  escaping  the  reproach  of  being 
monotonously  insipid. 


THE   TEMPEST.  -,0" 


PAINE. 

THE  TEMPEST. 

ROFESSOR  PAINE'S  symphonic  poem. 
"  The  Tempest,"  illustrative  of  Shak- 
speare's  play,  was  composed  in  1S76, 
and  first  performed  in  New  York  by 
the  Thomas  orchestra  in  1877.  It  is  written  in 
four  connected  movements,  and  the  clew  to  its 
meaning  is  sufficiently  given  in  the  programme 
which  the  composer  has  furnished.  The  first  move- 
ment, Allegro  con  fuoco,  in  D  minor,  describes  the 
storm  ;  the  second,  Adagio  tranquillo,  in  E  major, 
a  calm  and  happy  scene  before  Prospero's  cell  and 
Ariel's  appearance,  the  motives  given  out  by  solo 
flute,  clarinet,  and  harp,  supported  by  the  strings 
and  winds ;  the  third,  Allegro  moderato  e  maestoso, 
in  C  major,  Prospero's  tale ;  and  the  fourth.  Allegro 
ma  non  troppo,  in  D  major,  the  happy  love  of  Fer- 
dinand and  Miranda  and  an  episode  with  Caliban 
(solo  bassoon)  and  Ariel  (flutes,  harps,  clarinets, 
and  strings),  closing  with  the  triumph  of  Prospero's 
potent  art.  The  work  is  written  in  a  scholarly 
manner,  and  is  not  only  poetically  suggestive,  but 
wonderfully  rich  and  clear  in  its  expression. 


304 


SYMPHONIC  POEMS. 


REINECKE. 

HAKON  JARL. 

alARL  REINECKE  was  born  at  Altona, 
June  23,  1827,  and  received  his  first 
instructions  from  his  father,  who  was  also 
a  musician.  He  proved  so  apt  a  pupil 
that  he  appeared  in  public  in  his  eleventh  year,  and 
at  eighteen  made  a  concert  tour  in  Sweden  and 
Denmark  which  was  very  successful.  In  1843  he 
prosecuted  his  studies  in  Leipsic,  and  the  next  year 
made  a  second  tour,  this  time  going  to  Russia.  In 
1846  he  was  appointed  court  pianist  to  the  King  of 
Denmark,  and  in  185 1  went  to  Italy  and  France, 
where  his  previous  successes  were  repeated.  A 
year  afterward  he  secured  a  professorship  in  the 
Conservatory  of  Cologne.  In  1859  he  was  ap- 
pointed musical  director  at  the  University  of  Breslau  ; 
and  in  i860  he  secured  the  eminent  position  of 
conductor  at  the  Leipsic  Gewandhaus,  succeeding 
Rietz.  Since  that  time  he  has  made  many  musical 
tours.  He  has  written  several  large  works  for  the 
piano  which  are  highly  esteemed,  particularly  the  F 
sharp  minor  concerto.  Besides  two  symphonies 
and  several  instrumental  quartets  and  quintets,  he 
has  composed  the  five-act  opera,  "  King  Manfred," 


HAKON  JARL.  305 

incidental  music  to  Schiller's  "  William  Tell,"  the 
oratorio,  "  Belshazzar,"  the  two  charming  overtures, 
'•  Dame  Kobold  "  and  "  Aladdin,"  and  many  songs. 

"  Hakon  Jarl,"  the  work  by  which  Reinecke  is 
best  known  in  this  country,  is  sometimes  classed  as 
a  symphony,  in  which  form  it  appears  as  No.  2  in  C 
minor,  but  it  is  more  frequently  set  down  as  a  sym- 
phonic poem  or  series  of  orchestral  sketches.  It  is 
in  four  movements,  and  is  based  upon  Oehlen- 
schlaeger's  tragedy  of  the  same  name,  —  a  work  well 
known  in  Danish  literature.  The  scene  of  the  play 
is  laid  in  Norway,  and  its  subject  is  the  downfall  of 
Paganism  at  the  hands  of  Olaf,  who  has  embraced 
Christianity.  While  the  latter,  who  is  heir  to  the 
crown,  is  absent,  Jarl  Haco  seizes  the  throne.  Upon 
Olafs  return  a  rebellion  breaks  out  in  which  the 
brothers  of  Thora,  who  has  been  persecuted  by 
Haco,  take  a  prominent  part.  Dreading  the  anger 
of  the  gods,  Haco  sacrifices  his  own  and  Thora's 
child  in  the  grove  of  Odin.  He  is  at  last  defeated 
in  battle,  and  seeks  refuge  at  Thora's  home,  where 
he  kills  himself  to  escape  the  revenge  of  his  enemies, 
Thora  refusing  to  survive  him.  This  is  the  story 
which  the  composer  seeks  to  illustrate. 

The  first  movement,  Allegro,  is  entitled  "  Hakon 
Jarl,"  and  is  intended  to  portray  the  impressions  of 
his  heroic  character.  Indeed,  Reinecke  himself  says 
that  his  intention  is  "  to  reflect  musically  the  general 
impressions  which  this  Northern  dniidical  hero  and 
his  companions   made   upon   him."     The   second 

20 


3o6  SYMPHONIC  POEMS. 

movement,  an  Andante,  called  "  Thora,"  which  is 
characterized  by  a  sweet  and  gracious  melody,  given 
out  as  a  duet  for  flute  and  viola,  in  like  manner  de- 
picts the  character  of  the  heroine.  The  third,  In- 
termezzo, an  Allegretto  moderato  ( "  In  Odin's 
Grove  "),  is  a  gloomy  picture  of  the  sacrifice  \  and 
the  last  movement,  "Olaf's  Victory,"  is  martial  and 
jubilant  in  style,  as  befits  the  subject. 


PHAETON.  307 


SAINT-SAENS. 

EOTIET  D'  OMPHALE,    Op.  31. 

HE  symphonic  poem,  "  Rouet  d'  Omphale  " 
("  Omphale's  Spinning-wheel "),  illustrates 
the  old  story  of  Hercules  serving  as  slave 
to  the  Lydian  queen,  and  running  her 
spinning-wheel  in  female  attire  by  her  side.  The 
composition  is  in  sonatina  form,  and  very  short,  but 
exceedingly  naive  and  graceful.  It  begins  with  a 
characteristic  imitation  of  the  wheel  by  the  violins 
in  a  well-known  figure.  The  second  motive,  a  som- 
bre melody  in  the  bass,  characterizes  the  lamenting, 
groaning  Hercules ;  but  Omphale  soon  sets  him  at 
work  again,  and  the  wheel  resumes  its  lively,  char- 
acteristic rhythm.  The  poem  is  vivacious  and  elegant 
throughout,  and  a  good  illustration  of  Saint-Saens's 
cleverness  in  instrumentation. 

PHAETON.    Op.  35. 

The  symphonic  poem  of  "  Phaeton  "  has  for  its 
story  the  legend  of  the  unfortunate  amateur  chario- 
teer of  the  sun,  who,  having  obtained  permission  to 
drive  the  fiery  steeds,  approaches  so  near  the  earth 
that  it  is  only  saved   from  destruction  by  Jupiter, 


3oS  SYMPHONIC  POEMS. 

who  interposes  with  a  timely  thunderbolt,  and  hurls 
the  reckless  driver  into  the  outer  limbo.  It  begins 
with  a  very  pleasant  melody,  the  driver  evidently 
contemplating  an  agreeable  journey.  Soon  another 
theme  comes  in ;  the  chariot  is  taking  an  upward 
flight.  Anon  he  loses  his  course,  and  the  first 
theme  appears  with  significant  chromatic  changes. 
His  indecision,  fear,  and  despair  are  clearly  indi- 
cated in  the  uncertain,  abrupt,  and  wandering  char- 
acter of  the  music.  At  last  Jupiter  settles  matters 
with  an  outburst  of  trumpets ;  and  the  poem  closes 
with  the  second  theme  in  dirge  form,  singing  a 
lament  for  the  unfortunate  victim  of  over-curiosity 
and  confidence. 

DANSE  MACABRE.    Op.  40- 

The  "Danse  Macabre,"  or  "Dance  of  Death," 
does  not,  as  might  be  supposed,  follow  the  well- 
known  episodes  which  Holbein's  pictures  have 
made  so  familiar,  but  is  based  upon  a  grotesque 
poem  by  Henri  Cazalis,  beginning,  — 

"  Zig  et  zig  et  zig,  la  Mort  en  cadence 
Frappant  una  tombe  avec  son  talon, 
La  Mort,  a  minuit,  joue  un  air  de  danse, 
Zig  et  zig  et  zig,  sur  son  violin." 

Death  is  described  as  a  fiddler,  summoning  the 
skeletons  from  their  graves  at  midnight  for  a  dance, 
the  hour  being  indicated  on  the  harp.  The  ghastly 
merriment,  interrupted  by  some  sombre  strains,  is 
kept  up  until  the  cock  crows,  the  signal  for  the 


DANSE  MACABRE. 


309 


instant  disappearance  of  the  grim  and  clattering 
revellers.  The  poem  is  based  upon  two  themes, 
—  one  in  dance  measure,  punctuated  with  the  clack 
of  bones,  and  the  other  a  more  serious  strain, 
symbolical  of  night  and  the  loneliness  of  the  grave. 
The  variations  upon  these  two  themes  continue 
until  the  cock-crow,  given  out  by  the  oboe,  sounds 
the  signal  for  the  close.  The  poem,  in  a  word,  is  a 
waltz  measure  set  off  with  grotesque,  but  very  inge- 
nious, instrumentation. 


APPENDIX. 


jHE  following  alphabetical  list  has  been  pre- 
pared with  the  view  of  presenting  the  reader 
a  catalogue  of  all  the  important  symphonies, 
with  names  of  composers  and  dates  of  com- 
position. It  has  been  compiled  with  much  care  and 
labor,  and  it  is  believed  will  furnish  musical  students, 
as  well  as  the  general  reader,  with  as  complete  and 
accurate  a  reference  list  as  can  be  desired. 


Bargiel,  Waldemar.     No.  i,  C  major  (1861). 

Beethoven,  Ludwig  von.  No.  i,  C  major  (1800)  ; 
No.  2,  D  major  (1S02)  ;  No.  3,  E  flat  (Heroic) 
(1804);  No.  4,  B  flat  (1S06)  ;  No.  5,  C  minor 
(1808)  ;  No.  6,  F  major  (Pastoral)  (180S);  No  7, 
A  major  (1812)  ;  No.  8,  F  major  (1812);  No.  9, 
D  minor  (Choral)  (1S23)  ;  Battle  Symphony  (i 816); 
Choral  Fantasie  (1808). 

Benedict,  Julius.     No.  i,  G  minor  (1862). 

Bennett,  William  Sterndale.  No.  i,  G.  minor 
(1864). 


-12  APPENDIX, 

o 

Berlioz,  Hector.     Symphonie  Fantastique  (1830)  ; 

Harold  en  Italic  (1834)  ;  Romeo  at  Juliette  (1839)  » 

Grande  Symphonie  Funebre  et  Triompbale  (1840). 
Bird,  Arthur  G.     No.  i,  A  major  (18S6). 
Brahms,  Johannes.     No.  i,  C  minor  (1876)  ;  No.  2, 

D  major  (1877)  ;   No.   3,   F  major  (1883)  ;  No.  4, 

E  minor  (1885). 
Bristow,  George  F.     No.  r,  E  flat  (1845)  ^  No.  2, 

D  minor  (1855);    No.  3,  F  sharp  minor  (1856); 

Arcadian  (1874). 
Bruch,  Max.     No    t,  E  flat  (1868)  ;   No.  2,  F  minor 

(1869). 
Bruckner,  Anton.     First  six  unpublished  ;  No.  7, 

E  flat  (1879). 
BuRGMULLER,  NoRBERT.     No.    I,   C  minor  (1830)  ; 

No.  2,  D  major,  unfinished  (1850). 
CowEN,    Frederick   H.      No.    i,  C  minor   (1869)  ; 

No.  2,  F  major  (1872)  ;  No.  3,  C  minor  (Scandi- 
navian)  (1880)  ;   No.  4,  B  flat  minor  (Cambrian) 

(1884)  ;  No.  5,  F  major  (1887). 
David,  Felicien.     No.   i,  F  major  (1835)  ;  No.  2, 

E  major  (1835)  ;  No.  3,  E  flat  (1841);  Le  Desert 

(ode  symphonique)   (1844)  ;    Christophe  Colombe 

(ode  symphonique)  (1847). 
Dietrich,  Albert  H.     No.  i,  D  minor  (1869). 
Dietrich,  Anton.     No.  i,  D  minor  (1866). 
D'Indy,  Vinart.      Wallenstein,   Symphonic  Trilogy 

(1887). 
Dvorak,  Anton.     No.   i,  F  major  (1871)  ;  No.  2, 

E  flat  (1874)  ;    No.   3,  D  major  (1884)  ;    No.  4, 

D  minor  (1885). 
Florio,  Caryl.     No.  i,  G  major  (1887);  No.  2,  C 

minor  (1887). 
Gade,  Niels  W.     No.   i,   C  minor  (1843)  J   No.  2, 


APPENDIX.  213 

E  major  (1844)  ;  No.  3,  A  minor  (1845);  No.  4, 
B  flat  (1854)  ;  No.   5,  C  minor  (1855);  No.  6,  D 
minor,  with  piano  (1856)  ;  No.  7,  F  major  (1861)  ; 
No.  8,  B  minor  (1S69). 
Gernsheim,  Friedrich.     No.  i,  C  minor  (1887). 
GoETZ,  Hermann.     No.  i,  F  major  (1875). 
GoLDMARK,    Karl.       Landliclie    Hochzeit,    op.    26 

(1884). 
Hamerik,  Asger.     No.  i,  Symphonic  poetique  in  F 
major   (1880);    No.    2,    Symphonic  tragique  in  C 
minor  (1882)  ;  No.  3,  Symphonic  lyrique  in  E  major 
(1884). 
Haydn,  Joseph.   Twelve  Symphonies.    Salomon  Set: 
No.   I  (1790);  No.  2(1791);  No.  3  (The  Surprise) 
(1791);   No.  4(1792);   No.  5(1791);  No.  6(1791); 
No.    7   (179s);     No.    8   (Mit   dcm    Paukenwirbel) 
(1795);  No.  9(1795);   No.  10  ('1793);  No.  1 1  (The 
Clock)(i794);  No.  i2(The  Mihtary)  (1794).     Sym- 
phonies   with    Titles:     Le  Soir  (1760)  ;     Le  Midi 
(1761);    Dor  Philosoph  (1764);    Le  Matin  (1764); 
Lamentations    (1772);    Mercury  (1772);    Letter  L 
(1772);    Letter   I   (1772);    Farewell  (1772);    Maria 
Theresa  (i773);  La  Passione  (1773);  Feuer  Sym- 
phonic (1774);    The  Schoolmaster  (1774);    Letter 
H  (1774);    II  Distrato   (1776);    Roxelane  (1777); 
Laudon  (1779);  Letter  A  (1780);  La  Chasse  (1780); 
Kinder  Symphonic  (1780)  ;    La  Reine   de   France 
(1786);    La  Poule  (1786);    L'Ours  (1786);    Letter 
T  (1787);  Letter  V  (1787);   Letter  W  (1787);  Let- 
ter Q,  "The   Oxford"  (1788);    Letter  R  (1788); 
Concertante  (1792) ;  and  eighty-four  others. 
HiLLKR,  Ferdinand.     Nos.  i  and  2,  dates  unknown  ; 

No.  3.  E  major  (Spring)  (1840). 
HoF.MANN,    Heinkich.      FHthjof    Symphony  (1874). 


314  APPENDIX. 

Holmes,  Henry.     No.  i,  C  major  (Boscastle)(  1871). 

HuBER,  Hans.     Eine  Tell  Symphonie  (1879). 

Jadassohn,  Solomon.  No.  i,  C  major  (1862);  No. 
2,  A  major  (1863) ;  No.  3,  D  minor  (1875). 

Kalliwoda,  Johann  W.  No.  i,  F  minor  (1S26); 
No.  2,  E  flat  (1827);  No.  3,  D  minor  (1829);  No. 
4,  C  major  (1835);  ^o-  5)  ^  minor  (1836);  No.  6, 
G  minor  (1840) ;  No.  7,  F  major  {1S45). 

Klughardt,  August.  No.  i,  Lenore(i88o);  No.  2, 
D  major  (1882). 

Lachner,  Franz.  No.  i,  E  flat;  No.  2,  F  major; 
No.  3,  D  minor;  No.  4,  E  major;  No.  5,  C  minor 
(Appassionata) ;  No.  6,  D  minor  ;  No.  7,  G  minor. 
Dates  unknown. 

Leslie,  Henry.     No.  i,  F  major  (1847). 

Liszt,  Franz.  Divina  Commedia(i859);  Eine  Faust 
Symphonie  (1862).  Symphonic  Poems:  (i)  Ce 
qu'on  entend  sur  la  Montagne  ;  (2)  Tasso  ;  (3)  Les 
Preludes;  (4)  Orpheus;  (5)  Prometheus;  (6)  Ma- 
zeppa ;  (7)  Festklange  ;  (8)  Heroide  funebre ;  (9) 
Hungaria;  (10)  Hamlet;  (11)  Hunnenschlacht ; 
(12)  Die  Ideale.  All  written  during  his  Weimar 
period. 

LoHR,  G.  S.  L.     No.  I,  A  minor  (1874). 

Maas,  Louis.     American  (1883). 

McDowell,  Edgar  A.  Symphonic  Poems  :  Ham- 
let (1S841;  Ophelia  ( 1 886). 

Macfarren,  George  A.  No.  i,  C  major  (1828); 
No.  2,  C  minor  (1829);  No.  3,  A  minor  (1830) ; 
No.  4,  F  minor  (1831) ;  No.  5,  B  flat  (1833); 
No.  6,  C  sharp  minor  (1834);  No.  7,  D  major 
(1836;. 

Mendelssohn,  Felix.  No.  i,  C  minor  (1824);  No. 
2,    Lobgesang  (1840);    No.   3,  A  minor  (Scotch) 


APPENDIX 


315 


(1842);    No.  4,  A  major  (Italian)  (1S33)  ;    No    5, 

D  major  (Reformation)  (1830). 
MoSKOWSKi,    MoRiTZ.     Symphonic    Poem,   Joan   of 

Arc  (1885). 
Mozart,  Wolfgang  Amadeus.     No.  338,  C  major 

(1780)  ;  No.  385,  D  major  (Haffner)  (1782);  No. 

425,  C  major  (Linzer)  (1783);  No.   504,  D  major 

(1786);  No.  543,  E  flat  (Swan  Song)  (178S)  ;  No. 

550.  G  minor  (17S8)  ;  No.  551,  C  major  (Jupiter) 

(178S)  ;    and    thirty-four   others.      The   numbers 

refer  to  the  Kochel  Catalogue. 
Paine,  John  Knowles.     No.  i,  C  minor  (1875)  ;  No. 

2,  A  major   (Spring)  (1880);    Symphonic  Poem, 

The  Tempest  (1876). 
Parry,    Hubert.     No.   i,  G  major  (1882)  ;    No.  2, 

F  major  (University)   (1883). 
Pratt,  S.  G.    No.  i,  E  minor  (1870) ;  No.  2,  A  major 

(The  Prodigal  Son)  (1875)  ;    Symphonic  Sketch, 

Magdalena's    Lament    (1870);    Symphonic    Suite, 

The  Tempest  (1885). 
Prout,  Ebenezer.     No.  i,  C  major  (1873)  ;  No.  2, 

G  minor  (1876)  ;    No.  3,  F  major  (1885)  ;  No.  4, 

D  major  (1886). 
Raff,  Joseph  Joachim.     No,  i.  An  das  Vaterland 

(1863);  No.   2,  C  major  (1870);   No.  3,  F  major 

(Im  Walde)  (1869);  No.  4,  G  minor  (1871);  No. 

5,  (Lenore)  (1872);  No.  6,  D  minor  (Gelebt,  ge- 

streht,  gelitten,  gcstritten,  gestorben,  umworben) 

(1876);    No.    7,    Alpcnsinfonie    (1877);    No.    8, 

Friihlingsklange    (1878);    No.  9,    Im   Sommcrzeit 

(18S0);    No.   10,  Zur  Herbstzeit  (1S82)  ;  No.  11, 

Im  Winter  (1883). 
Reinecke,  Karl.     No.   i,  A  major  (1872);   No.  2, 

C  minor  (Hakon  Jar!)  (1880). 


3 1 6  APPENDIX. 

Rheixberger,    Joseph.     Wallenstein  (1875)  ;    Flo- 

rentinische  (1876). 
RiTTER,  Frederick  Louis.     No.  i,  A  major  ;  No.  2, 

E  minor;   No.  3,  E  flat.     Unpublished. 
RosENHAiN,  Jacob.     No.  i,  G  minor  (1846);  No.  2, 

F  minor  (1854)  ;  No.  3,  F  minor  (Spring)  (1855). 
Rubinstein,  Anton.    No.  i,  F  major  (1854)  ;  No.  2, 

C  major  (Ocean)  (1868);  No.  3,  A  major  (1870); 

No.  4,  D  minor  (Dramatic)  (1875)  ;  No.  5,  G  minor, 

in  memory  of  the  Grand  Duchess  Hdlene  Paulovna 

(1880) ;  No.  6,  A  minor  (1886).    Symphonic  Poem, 

Eroica  (1885). 
Saint-Saens,    Charles    Camille.     No.    i,   E  flat 

(1851)  ;  No.  2,  F  major  (1856)  ;    No.  3,  A  minor 

(1878);    No.  4,  D  major  (1863);   No.  5,  C  minor 

(1886).     Symphonic  Poems  :  La  Rouet  d'Omphale 

(1874)  ;  Phaeton  (1874);  Danse  Macabre  (1875)  ; 

La  Jeunesse  d'Hercules    (1875). 
Scharwenka,  Xaver.     No.  i,  C  minor  (1885). 
Schubert,  Franz  Peter.     No.  i,  D  major  (1813); 

No.  2,  B  flat  (1815)  ;  No.  3,  D  major  (1815)  ;  No. 

4,  C  minor  (Tragic)  (1816)  ;  No.  5,  B  flat  (1816)  ; 

No.  6,  C  major  (1818)  ;  No.  7,  E  major,  a  sketch 

(1821)  ;    No.    8,    B    minor    (unfinished)    (1822)  ; 

No.  9,  C  major  (1828). 
Schumann,  Robert.     No.  i,  B  flat  (Spring)  (1841)  ; 

No.   2,   C  major  (1846)  ;  No.  3,  E  flat  (Rhenish) 

(1841);  No.  4,  D  minor  (1841)  ;  Overture,  Scherzo, 

and  Finale  (1841). 
Silas,   Edward.     No.  i,  A  major  (1850)  ;    No.  2, 

C   major    (1852)  ;    No.    3,    Symphonie   burlesque 

(1853)- 
Singer,  Otto.     Symphonie  Fantasia  (18S8). 
Spohr,    Louis.      No.    i,    B   major   (1811);    No.    2, 


APPENDIX. 


;i7 


D  minor  (1815);  No.  3,  C  minor  (1829);  No.  4, 
Consecration  of  Sound  (1834);  No.  5,  C  minor 
(183S)  ;  No.  6,  G  major  (Historical)  (1841)  ;  No.  7, 
Double  Symphony  (Irdisches  und  Gottliclies  im 
Menschenleben)  (1842)  ;  No.  8,  G  minor  (1847)  ; 
No.  9,  B  major  (The  Seasons)  (1849). 

Stanford,  Charles  Villiers.  No.  i,  Bflat  (1879)  5 
No.  2,  D  minor  (Elegiac)  (1882)  ;  No.  3,  F  minor 
(Irish)  (1887). 

Strong,  G.  Te.mpleton,     No.  i,  F  major  (1886). 

Sullivan,  Arthur  Seymour.  No.  i,  £  minor 
(1866). 

Svendsen,  Johann  Severin.  No.  i,  D  major  (1863) ; 
No.  2,  B  flat  (1871). 

TSCHAIKOWSKY,  Peter  Iltitsch.  No.  I,  G  major 
(1874)  ;  No.  2,  C  minor  (1875);  No.  3,  D  major 
(1875);  No-  4'  ^  minor  (1S75)  ;  No.  5,  Manfred 
(1876).  Symplionic  Poems:  Francesca  von  Ri- 
mini ;  The  Storm. 

Ulrich,  Hugo.  No.  i,  B  minor  (1852);  No.  2, 
G  major  (Triomphale)  (1853). 

VOLKMANN,  Friedrich  Roijert.  No.  I,  D  minor 
(1863)  ;  No.  2,  B  flat  (1865). 

Wagner,  Richard.     No.  i,  C  major  (1832). 

Weher,  Carl  Maria.  No.  i,  C  major  (1807); 
No.  2,  C  major  (1807). 


^-m^M^^^^^ 


INDEX. 


Albrechtsberger,  31. 
Ambros,  71. 

Bach,  14,  22. 
Bach,  Karl   Philipp,  15. 
Beethoven,  17,  20,  22-25,  27,  99, 
III,   112,  iij,  116,  122,  128,  130, 

'39.  "55.  '7".  '97.  2°^.  "'.  233. 

241,  26S,  274-27S  ;  sketch  of,  29. 
Benoit,  227. 
Berlioz,  27,  47,  59,  71,82;   sketch 

of,  99. 
Bischoff,  71. 
Bombet,  151. 
Bonaparte,  45-47. 
Bononcini,  14. 

Brahms,  27,  129;  sketch  of,  no. 
Burger,  20  >. 
Byron,  loO,  107,  283,  287. 

Ca.mbrian  symphony,  124,  261. 

Caradori,  86. 

Cesti,  15. 

Chcrubini,  14. 

Childe  Harold,  106,  loS,  109. 

Choral  Fantasie,  83,  96,  115. 

Choral  symphony,  20,  30,  83. 

Colonna,  15. 

Consecration    of   Tone,     22,    254, 

25'.. 
Corelli,  14. 


Country  Wedding  symphony,  145, 

146. 
Cowen,  sketch  of,  124. 
Creation,  16. 

Damrosch,  261. 

Danse  Macabre,  228,  292,  308. 

Dante,  170,  175. 

Dante  symphony,  27,  170,  175- 

Dehn,  166. 

Deiters,  118. 

Devrient,  295. 

Dies  Irae,  104,  291. 

Dorn,  241. 

Dragonetti,  70. 

Dramatic  symphony,  27,  220,  223. 

Dubois,  227. 

Dvordk,  27;  sketch  of,  12S. 

Ein'  ff.stk  Uvkg,  26,  18S. 
Episodes  in  the  i^ife  of  an  Artist,  27. 
Esterhazy,  Count,  151,  238. 
Euryanthc,  71. 

Faust,  68,  92,  102,  171-174. 

Faust  symphony,  27,  170-172. 

Fcstklange,  285. 

Fidelin,  52. 

Friihjof  Saga,  136,  167. 

Frilhjof  symphony,  166,  167. 

Friihlingsklilngc    symphony,    205, 

212. 


320 


INDEX. 


Gade,  27;  sketch  of,  133. 

Gautier,  Mme.,  103. 

Gebler,  igo. 

Goethe,   59,  go,  92,  102,   171,   172, 

257.  283. 
Goetz,  27;  sketch  of,  141. 
GoldmarU,  145. 
Graziani,  15, 
Grell,  166. 
Grdtry,  14. 

Haffner,  190. 

Hakon  Jarl,  305. 

Handel,  14,  22. 

Hanslick,  243. 

Harold  in  Italy,  27,  loi,  105. 

Haydn,  13-19,  21,  22,  24,  29,  31, 
34,  36.  37.  80,  84,  gg,  iii,  118, 
122,  130,-  isg,  170,  241 ;  sketch 
of,  150. 

Hellmesberger,  145. 

Herbeck,  128. 

Heroic  symphony,  ig,  30,  44. 

Hofmann,  27  ;  sketch  of,  166. 

Holbein,  291. 

Hugo,  Victor,  287. 

Hummel,  70. 

Hunnenschlacht,  170,  289. 

Hymn  of  Praise,  27,  177. 

Im  Walde  symphonv,  205,  206, 

214. 
Irish  symphony,  260,  261. 
Italian  symphony,  26,  177,  182. 

Jahn,  igi,  194- 
Jansa,  145. 
Joachim,  129. 
Joan  of  Arc,  124,  301. 
Jonielli,  14. 

Jupiter  symphony,  17,  190,  igr, 
197. 

Kaulbach,  28g. 
Kiel,  260. 
Kretschmar,  122. 
Kuffner,  g7. 

Lachnhr,  27. 
Lamartine,  279. 


Lenore    symphony,   27,    205,   209, 

214. 
Leo,  14. 
Leonore,  52. 
Lichnowski,  Prince,  38. 
Liszt,  27,  219-221,  279  ;   sketch  of, 

170. 
Lobkowitz,  Prince,  44,  58. 
Lulli,  14. 

Macfarren,  54,  97. 

Maleden,  227. 

Maize!,  77. 

Marx,  47,  71,  293. 

Maximilian  Joseph,  97. 

Mayseder,  70. 

Mazeppa,  170,  287. 

Mehul,  14. 

Meinardus,  241. 

Melancthon,  186. 

Mendelssohn,  22,  23,  26,  27,  59,  82, 
no,  116,  117,  122,  128,  133,  135- 
137,  169,  186,  195,  237,  242,  245, 
270,  293  ;  sketch  of,  177. 

Meyerbeer,  70. 

Midsummer    Night's  Dream,   82, 

137.  293- 
Military  symphony,  161. 
Moscheles,  70. 
Moskowski,  301. 
Mozart,   14,   17-19,  21,  22,  24,  25, 

29.  31.  33.  34,  37i  79.  8°,  99,  i". 
118,  122,  128,  130,  139,  154,  159, 
'7°,  177,  242,  277 ;  sketch  of, 
189. 

NoHL,  194. 
Nottebohm,  38. 

Ocean  symphony,  27,  219,  220, 
223. 

Oehlenschlaeger,  305. 
Oulibicheff,  71. 

Paganini,  106. 

Paine,  303  ;  sketch  of,  201. 

Pasdeloup,  228. 

Pastoral  symphony,  19,  30,  s8|  65, 

gg. 
Pergolesi,  14. 
Pfeiffer,  22,  256. 


INDEX. 


321 


Phaeton,  28,  22S,  307. 
Porpora,  14. 
Potter,  Cipriani,  38. 
Preludes,  28,  170,  279. 
Probst,  96. 
Prometlieus,  51,  170. 

Raff,  27;  sketch  of,  205. 
Rasoumowsky,  Count,  58. 
Reformation    symphony,   26,    177, 

.85. 
Reinecke,  27,  260;  sketch  of,  304. 
Rheinberger,  213. 
Rhenish  symphony,  26,  248. 
Richter,  261. 
Ries,  85. 
Romberg,  70. 
Romeo  and  Juliet,  too. 
Rosa,  Carl,  124. 
Rossini,  78. 

Rouet  d'Omphale,  28,  228,  307. 
Rubinstein,  27  ;  sketch  of,  iig. 

Sacchini,  14. 

Saint-Saens,  27, 28,  292, 307  ;  sketch 

of,  227. 
Salieri,  70. 
Salomon,   77,    151,   152,    157,    159, 

161,  163,  164. 
Sammartini,  15. 

Scandinavian  symphony,  124,  125. 
Scarlatti,  14. 

Schiller,  83,  84,  124,  216,  257. 
Schindler,  66,  70,  84. 
Schubert.  23,  27,  80,  82,  122,  165, 

195  ;   sketch  of,  233. 
Schubring,  294. 
Schumann,  22,  23,  27,  56,  82,  no, 

112,  181,  237,  239,  256;    sketch 

of,  341. 
Scotch    symphony,    27,    178,    182, 

261. 
Seasons,  16. 
Shakspeare,   18,  141,  201,  202,  257, 

293. 303- 
Smart,  87. 
Sonata,  15,  16. 


Son  tag,  86. 

Spohr,  21,  70  ;  sketch  of,  254. 

Spring  symphony,  201,  202. 

Stambati,  227. 

Stanford,  260. 

Sullivan,  264. 

Symphony,  origin  of,  13 ;  earlier 
forms,  14,  IS  ;  Haydn's  sympho- 
nies, 15,  16;  Mozart's  sympho- 
nies, 17;  Beethoven's  sympho- 
nies, 17 ;  Spohr's  symphonies, 
21 ;  Schubert's  symphonies,  23  ; 
Schumann's  symphonies,  24 ; 
Mendelssohn's  symphonies,  26 ; 
modern  symphonies,  27. 

Symphonic  poems,  27,  279. 

Symphonic  Fantastique,  100,  101. 

Tappert,  270. 

Tasso,  28,  170,  283. 

Tegner,  167. 

Tempest,  201,  203. 

Tennyson,  260. 

Thomas,  Theodore,  201,  202. 

Tichatscheck,  271. 

Tieck,  295. 

Todtentanz,  291. 

Tschaikowsky,  27. 

Ulrich,  141. 

Unfinished  symphony,  23,  234. 

Ungher,  86. 

Urban,  105. 

Vinci,  14. 

Vivaldi,  14. 

Volkmann,  27,  267. 

Von  Billow,  112,  122,  141,  261. 

VVagnbr,  47,  71,  90,  92,  :02,  168, 

187  ;   sketch  of,  270. 
Wallenstein  symphony,  215,  216. 
Weber,  71,  294. 
Wcitzmann,  392. 
Wiirst,  166. 
Wyse,  133. 


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